White Hollywood: Howard Hawks
Posted by Archives in AmeriKwa, Gott, Hollywood, movies at 1:36 pm | 
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by Gott.
Hawks was a major Hollywood player from his first sound film in 1930 (The Dawn Patrol) to his last film in 1970 (the sadly bad Rio Lobo). He came from money and class – his family arrived from England in 1634, farmed where Boston now stands and went on to found and pretty much own Goshen, Indiana. An anomaly in Hollywood, Hawks was gentlemanly and elegant, an aristocratic WASP in a town otherwise full of poor Irish (most of the actors and directors) and grasping eastern European jews (surprise – producers and owners).
Hawks made the kind of films he wanted to, he spent jew money to make them and most of the time he got his own way. For Hawks a big part of the challenge of moviemaking was in outwitting the hated producers, who were mostly jews. Similar in many ways (both tall, handsome and Aryan – as un-jewish looking and acting as is possible), Howard Hawks and Howard Hughes had a career-long on-again, off-again relationship through which both tried to break the stranglehold of the Hymiewood Studio System. Hawks worked on Hell’s Angels and The Outlaw, and directed Scarface (his favorite of his own films), The Thing and The Big Sky for Hughes. Even with his muscle and money, ultimately Hughes’ production attempts failed in the face of the solidarity of Hollywood jew opposition.
Hawks’ great talent in the toughest of all moviemaking jobs – direction – guaranteed his place at the top of the Hollywood pack with or without Hughes. Though his yid bosses wanted poisonous ‘message pictures,’ Hawks disobliged them – his films are instead character studies. These characters are all White, are unapologetically and proudly men, do not have emotional or psychological problems (are not fucked up) or unnecessary dark sides. Freudian mumbo-jumbo was not for Hawks and you won’t find it in his movies. Even in Red River, where J. Wayne’s Tom Dunson is scary indeed, rational reasons are provided to explain the temporary deterioration of the character.
Cool, emotionally mature, good at what they do and good with women, Hawks’ men work together for the common good. His movies are almost all engineered around men integrating into a group and pooling their expertise in order to surmount an otherwise insurmountable problem or defeat an otherwise undefeatable enemy. Whether it be an America brought low by Pearl Harbor and fighting against what seemed like impossible odds (Air Force), or a bunch of Army jocks and practical scientists being slowly devoured by ‘an intellectual carrot from outer space’ (The Thing), or a crippled old geezer (Walter Brennan), a gruff old codger (J. Wayne), the town drunk (Dean Martin) and a green kid (Ricky Nelson) up against an army of professional killers (Rio Bravo), Hawks’ men learn how to work together, and in doing so, they not only win but find the pleasures and rewards of friendship and community.
How well you do your job is the measure of a man in the Hawks worldview. If a man is good at what he does, by logical extension, he will be a good man, and a winner. Men who do their jobs badly will be bad men.
Self-control is an important quality in Hawks films. The actors who most perfectly embody the Hawks man are Humphrey Bogart, Gary Cooper, John Wayne and Cary Grant. The characters they play are idealized versions of Hawks himself, being emotionally reserved and guided by logic rather than by emotion – sometimes obsessively so. These men do the smart thing because they are not blinded by their feelings. For one of many possible examples, in Rio Bravo, Wayne’s character lives and wins while Ward Bond’s character dies because Wayne knows when to keep his mouth shut (an aspect of his all-round professionalism) while Bond blabs without considering the consequences.
Through naturalistic surfaces, Hawks pitches a philosophic message which is fundamentally stoic. Life is finite; there is nothing before and nothing after physical existence. This partly explains the lack of back stories in the presentation of Hawks’ characters, and the director’s disinclination to suggest what might happen after ‘the end.’ Everything is in the here and now in Hawks films. A fundamentally positive and hopeful artist (most of his films are formally comedies as even the most dramatic ones generally end positively), in telling us that there is no afterlife, he also tells us to therefore make the best and the most of every minute we have. Don’t waste your time, don’t sit around but rather be active and get things done.
Hawks’ women are no different from Hawks’ men in that he likes the smart, independent, sensible and capable ones and doesn’t have much good to say about the others. When a woman says she can take it and then can’t (for instance, Dolores Moran’s character in To Have and Have Not), at the director’s bidding we see she is second-string, and lose respect for her. When in the same movie Lauren Bacall’s Slim proves she can take it, we admire and desire her as much as Hawks does.
Though Hawks worked with the same men over and over again, he rarely worked with an actress more than once. That mirrors his life in the same way that his thematic interest in men coming together in group endeavor does. Hawks put his work first, which his mostly trophy wives (4) and mistresses (too many to count) learned to their sorrow. But after work comes relaxation. If you want to play God, become a movie director, because you too get to make the world in your own image. If you are a sadist, become a movie director, as everybody has to do exactly what you tell them to do, and if it hurts, or is humiliating, too bad. Filmmaking is intensely intimate, and the director is the boss – if you want to get laid by the most beautiful women in the world, become a movie director.
Hawks didn’t play God, partly because he didn’t have a spiritual dimension – physical reality counts for everything in his films. Hawks was no sadist. But he did sleep around. He bedded most of his leading ladies, the second leads in his films (whose roles are often only there for that reason – for example, the French girl in Hatari!) and many of the biggest movie stars in Hollywood. He liked his women lithe, athletic, classy, and understated. Marilyn Monroe, who he directed twice, he thought a joke, and he treats her as a low parody – obvious, gross, and cartoon-like. If you want to see the kind of girl Hawks found attractive, take a look at The Big Sleep, in which Bogart plays the surrogate Hawks figure. This anti-film noir (the positive, upbeat director had no interest in this most neurotically jew of all jew genres), only genuinely functions on one level – as a sexual conquest fantasy. Every girl Bogart’s character meets is a typical Hawks woman. They are all sophisticated, sporty and smart – and eager to get in his pants. He cannot take a taxi, or duck into a bookstore, without being propositioned. Hawks pretty much lived the comedy-fantasy enacted in The Big Sleep. To get Howard’s attention, a woman had to have class. In old Hollywood, plenty did.
There were no temperamental fits on Hawks’ shoots (for instance, he never raised his voice, saying if anyone was going to get an ulcer from moviemaking it was not going to be him), he had no ego problems, and he was truly interested in good ideas no matter where they came from (actors, bit players, crew members, etc.). Because of his sensible, down-to-earth manner, and his expertise in direction, a good time was generally had by all on his productions. Reflecting his popularity with crews and the respect actors had for him, over and over again Hawks worked with the same cameramen, the same composers, the same editors, producers, technicians, and with a lot of the same actors. He lived the community philosophy of his movies.
Hawks’ filmmaking techniques are so subtle and refined that in watching his films the viewer is generally unaware that such a thing as technique exists – it becomes ‘invisible.’ From this perspective – there are other ways to come at the issue of technique – Hawks films are as good as they get. There is plenty to say (this article isn’t the place to say it, though) about the writing, his use of space to communicate information and atmosphere, the lighting, framing and the staging of action. His superb handling of actors (when the chemistry was right, as without it, the results could be awful) was based on mutual respect and on the director’s encouragement of improvisation in dialogue (the delivery of which, in His Girl Friday, is the fastest ever clocked). Editing in Hawks films (continuity editing or cutting on motion, which is the hardest to do) is particularly outstanding.
See his best pictures because they are among the finest American movies (and in his case that is American, not AmeriKwan), because they are unapologetically, exhilaratingly White, and because they present men as rational, in control, and awesomely competent. They are also terrifically good times (he made 11 major movies in a row which were box office smashes, a record he holds to this day). People went to his movies, not even knowing his name, because they are the best. Hawks movies are inspirational and are full of sensible advice about what is important in life and how to live it.
If you want pro-White movies, with a pro-White message, you can’t do better than Howard Hawks. He’s what our world used to be, and he managed to portray it with jew money! See if you can do that.
The best Hawks films: The Criminal Code, Scarface, Tiger Shark, Twentieth Century, Bringing Up Baby, Only Angels Have Wings, His Girl Friday, Air Force, To Have and Have Not, Red River, The Thing, The Big Sky, Rio Bravo, El Dorado.
2 September, 2009 at 2:34 pm
Red River is the only Hawk’s film I’ve ever seen. It’s a great movie though. One of my favorite westerns. One of John Wayne’s few roles as a “bad guy”.
2 September, 2009 at 3:35 pm
An interesting review. I have always found Hawks’ westerns enjoyable and satisfying, but wasn’t aware of his solid Aryan credentials. It is true that in the arts, and culture in general, only an Aryan can speak on the same wavelength as another Aryan.
2 September, 2009 at 4:13 pm
I enjoy hawk’s movies, and one I especially like is THE THING. Not actually done by Hawks, his friend Christian Nyby directed it, was having trouble, and hawks came to the rescue and took over.
A classic sci-fi movie and one of the first, THE THING had a good theme of men and women under attack and banding together, and
throughout the story everyone is a team, the characters, from airmen to scientests and reporters, are believable and exciting.
Even the ‘mad scientist’ is credible and understandable on his own terms. Kenneth Tobey makes a great leader, and his girl friend is the typical Hawks heroine…smart and resourceful. The dialogue and
banter is also great.
The ‘monster’ (Jim Arness) is also kept off-screen in order to increase his terror, and the story of his invading Earth to build uhis species should be a good story for WN’s. Especially when the
sceintist in charge starts to help the invader breed an army. A nice
comment on ‘liberals’. A great hawks film. Everyone should see it.
2 September, 2009 at 6:20 pm
An excellent article. The more discussion of cinema on this site, both contemporary and historical, the better.
2 September, 2009 at 8:38 pm
Masterful.
Thank you.
THIS is an example of what I hoped VNN would become, the living, dynamic reference point for our Race to define the issues before us, as a Race, and outline possible solutions to those issues, as a Race.
Fourteen Forever
2 September, 2009 at 9:06 pm
I knew almost nothing about Hawks except for his name & profession before reading this, but I’ve long loved The Thing, and especially El Dorado: Robert Mitchum & jew James Caan were a big improvement over Dean Martin & Ricky Nelson, and Arthur Cunningham was a real hoot as Bull.
That “White men banding together against long odds” theme is my favorite: Zulu, The Man Who Would be King, Escape From Alcatraz, Northwest Passage, etc.
2 September, 2009 at 9:37 pm
A good article but the promotion of promiscuity is Jewish.
2 September, 2009 at 9:47 pm
From wikipedia:
“Hawks was known to make anti-semitic comments, including in front of Jewish actress Lauren Bacall, who kept her Jewish identity a secret from Hawks and who did not call him on his hateful comments, which she now regrets.”
4 wives & countless extras? A real Aryan, to be sure! He did have time to create one baby, I hear. What a guy.
2 September, 2009 at 9:51 pm
N.O.G.
Niggorilla Occupied Government
2 September, 2009 at 9:56 pm
From the article:
When in the same movie Lauren Bacall’s Slim proves she can take it, we admire and desire her as much as Hawks does.
Bacall (born Betty Joan Perske) was a first cousin to former Israeli President Shimon Peres. In spite of this, I have to agree with you that the young Bacall was also 100% gorgeous, extremely unusual for a Jew girl. There were obviously some hijacked Aryan genes in there somewhere. As she aged she began to look more typically jewy though.
2 September, 2009 at 11:45 pm
“This anti-film noir (the positive, upbeat director had no interest in this most neurotically jew of all jew genres)…”
Pardon me, but isn’t Scarface widely regarded as the quintessential film noir?
2 September, 2009 at 11:49 pm
“To get Howard’s attention, a woman had to have class. In old Hollywood, plenty did.”
They were so classy that they were willing to sleep their way to the top.
3 September, 2009 at 12:02 am
I watched The Thing from Another World (not to be confused with John Carpenter’s The Thing, which was loosely based on it) 2 or 3 years ago. It was indeed notable for being free of the typical jew bullshit.
3 September, 2009 at 12:12 am
Scarface listed as #32 in IMDb’s top-rated film noir titles:
http://www.imdb.com/chart/filmnoir
It’s mentioned twice in Wikipedia’s article on film noir:
“Popular movies in the genre such as Little Caesar (1931), The Public Enemy (1931), and Scarface (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists.”
“A crucial literary source for film noir, now often overlooked, was W. R. Burnett, whose first novel to be published was Little Caesar, in 1929. It would be turned into the hit for Warner Bros. in 1931; the following year, Burnett was hired to write dialogue for Scarface, while Beast of the City was adapted from one of his stories. Some critics regard these latter two movies as film noirs, despite their early date.”
Perhaps calling Scarface the quintessential film noir was a bit strong, but it’s obviously regarded by many as being part of the genre.
3 September, 2009 at 12:35 am
“4 wives & countless extras? A real Aryan, to be sure! He did have time to create one baby, I hear. What a guy.”
Good point.
There’s a passage in Mein Kampf that’s always stood out to me to the effect that if a disaster took out our civilization, we would always be able to rebuild it as long as members of our race remained alive.
Our civilization is pretty much toast. What we need to worry about now is preserving ourselves. Monuments aren’t more important than the people who built them.
3 September, 2009 at 1:14 am
Yes. When Bacall was young she was a babe. But by the time she was in her fifties very jewish in some pictures. Sounded a lot more jewish too.
3 September, 2009 at 5:08 am
Hawks actually did direct The Thing (all the actors said so, but more importantly, the style is totally Hawks, also the dialogue, also the setting, situations, etc). Winchester Pictures was Hawks’ production company, it was written by a Hawks’ writer (and Hawks), shot by Hawks’ favorite photographer, and starred Hawks’ protege, the very charming Ken Tobey, and Hawks’ mistress of the moment Margaret Sheridan (who was supposed to be the lead in Red River but fell in love with a serviceman, got married and knocked up). He gave the direction to Nyby as a present – Nyby was an editor of a couple of major Hawks films. Then, when The Thing began, Hawks basically took over the direction. Must have been very unpleasant for Nyby. Ever see any of Nyby’s other films? See them and you will know at once that he could not have directed The Thing.
Scarface is no Film Noir. Everybody is an ‘expert’ in this field. This comment is totally absurd – there is a limit to this kind of stuff. Why not The Wizard of Oz as a film noir too? Stranger on the Third Floor and The Maltese Falcon, both 39, are the first Noirs. Scarface is a comedy/gangster film, which makes elitist fun of moron immigrants who think the American Dream means stealing and killing instead of working, and being loud and vulgar, instead of classy and cool. A snotty elitist kike wrote it (Ben Hecht) and a snotty elitist Aryan directed it. It’s a rise and fall saga/comedy and the only Hawks film in which the director expresses contempt for his characters (cuz they are too stupid and classless to see that crime does not pay)
Hawks had 3 or 4 kids.
3 September, 2009 at 7:09 am
Bacall – was a fashion model that Hawk’s 2nd wife had seen in a magazine ad, and then brought to Hawks’ attention (she knew Bacall was his type). Hawks didn’t just direct her in To Have and Have Not, he invented her. She is an almost exact copy of his wife, to the point that in the film she is called ‘slim,’ which is what everybody called his wife. She acts, looks, dresses and talks like his wife. Hawks desperately wanted to bed her (she was 19 at the time) but she fell in love with Bogart and he with her. Hawks was pissed!
The jew comment – Hawks took Bacall to the Warner Brothers commissary one day, and as they were having lunch, Leo Forbstein (head of the WB music dept.) came in. Hawks leaned into Bacall and said ‘he’s a loud jew, like they all are (something like that). This is what she refers to and says she should have answered back. Which is a wish-fulfillment fantasy on her part. She was nobody from nowhere, and he was Howard Hawks. Actresses would have lined up around the block to play that part; she could have been replaced in the blink of an eye.
When she mentioned this to her agent, who was not only also Hawks’ agent (and, life long, one of the director’s closest friends), the jew Charles K. Feldman, he laughed at her and said that Hawks was just testing her to see what she was made of. Feldman told Bacall that Hawks was perfectly aware she was a Jew, and wanted to see how she would react. As she reacted understated and cool, she passed the test.
She is sensational in To Have and Have Not, but was never anything more than ordinary ever again (a dud, in fact). At 19, she is young and juicy enough to compensate for her angular, rather hard and even manly features. Once she lost the baby fat, the hard looks really stood out (the heavy boozing with Bogart hastened this process). Hawks used the real-life, electric love between the two leads – it is up there on the screen in that first picture. She is on fire in the picture because she was on fire in real life. Even by the time of The Big Sleep (just a year or two an one other picture later), it’s all over and nothing much comes across either in personality, or acting ability. She’s OK, that’s the most anyone can or should say. She knew it too, as she insisted that Martha Vickers role in The Big Sleep (Carmen the pubescent nymphomaniac) be heavily cut – as compared to what Vickers was putting across, she was warm beer indeed. Vickers, by the way, is astonishing – incredible that they could get away with what she does what with censorship. The only time Bacall is any good in any other picture is in Sirk’s Written On The Wind, where she plays a complaisant bovine bore – it works cuz that’s what she actually was.
If you have the time, and are interested in Hawks, see Air Force – it’s probably his greatest movie. Noble, and much more emotionally intense than is usual for this director, the photography (by James Wong Howe, a chink) is outstandingly ‘beautiful,’ also not usual for Hawks. My favorite, I guess.
3 September, 2009 at 8:42 am
There is a sentence in one paragraph, and then another entire paragraph on Hawks pursuit of women. That’s obsession? Yeah, your obsession.
Movie making is intimate. The babes Hawks cavorted with were eager to do so – their careers, you know? And Hawks was good looking, gentlemanly, intelligent and interesting. Real world, real life stuff. Women were a pretty unimportant part of his life – a biological and instinctual need, and a kind of trophy (to show off with to his pals). He lived for his work, not ‘true love.’
Know the derivation of ‘Aryan’? It means ‘lord’ and tags an aggressive, patriarchal society that burst out of central Asia about 10 thousand years ago, to conquer the world. Aryan God’s were thunder/sky Male Gods, who took what they wanted.
‘If truth be known,’ women shouldn’t even be allowed to vote (see Goldwin Smith’s essay on the Suffragette movement, then go cook something) – faulty logic, mostly ‘me, me, me,’ an inability to see the bigger picture. There are exceptions just as there is the occasional smart nigger or decent kike (well….actually….). Exceptions prove the rule.
3 September, 2009 at 12:48 pm
Before we all run off and join the Lauren Bacall appreciation society, let’s remember that Holofernes thought that Judith was a babe too. Big mistake.
3 September, 2009 at 3:02 pm
JOG
ZOG
KOG
HOG
NOG
FROG- Fractional Reserve Occupational Government
3 September, 2009 at 4:48 pm
“Go cook something”? Who you talkin’ to, boy? I just finished canning, pickling, & freezing about 30 jars o’ stuff from our 1/4-acre garden. I’ll repeat the process every few days till October and still have time to do countless practical, useful & meaningful things you can only dream of having the skill to carry out.
While it is correct that women should never have been given the vote, I’ve yet to hear of an Aryan male/White man who was able to figure out for himself just why liberal politicians and their eventually destructive policies were so attractive to women 100 years ago, and still are today. So I’ll tell you: their men were duds. As so very many of them continue to be.
Regarding Hollywood and the acting industry in general. It’s a sinkhole for desperately neurotic excuses for human beings – gentlemanly, elegant Aryans included. Just as some women have to be prostitutes for the sake of keeping decent women clean, other people have to earn their keep by involvement in the “entertainment” industry. Acting is merely an elaborate form of lying – as some wit on Vanguard put it – and folks who are led to become involved in it are unfortunates.
Scarface (recent version) I always considered to be black comedy.
“Say hello to my little friend!” XD XD XD
3 September, 2009 at 5:26 pm
No, that’s not why those policies were attractive to women. You ain’t gonna want to hear the real reasons, and I don’t want to keep you from all that canning and other practical, useful & meaningful things. That I can only dream of having the skill to carry out. So, I won’t tell you. Maybe someone else will.
Art is a useful & meaningful reflection of culture. Where their isn’t any real art, it’s cuz there isn’t anything genuine to reflect. Women, whose creative impulses are entirely channeled into carrying new life, don’t understand these things, and never did, and never will. That’s OK, nobody is perfect.
There is a difference between good and bad art and in this case that means good and bad movies. You wouldn’t understand.
I did just cut the lawn. That count as useful & meaningful?
3 September, 2009 at 10:03 pm
This is on Entertainment Weekly as one of the top 30 quotable TV lines
http://www.ew.com/ew/gallery/0,,20300945_3,00.html
Submitted by “Rueben”. Gee I wonder who Rueben will give that last life preserver to from the sinking ship… the dog or the white person? Think I know the answer to that one.
There is a line of posts against one person pointing out the double standard. You do know the goal is to have white men hunted and destroyed while giving blonde white women away as trophies.
3 September, 2009 at 10:45 pm
http://www.youtube.com/watch?v=y3npQWvmMZg
3 September, 2009 at 11:16 pm
THIS is the best damn sig I have ever seen.
THANKS to Curt O’Brian!
Curt O’Brian said:
Damn, that’s as succinct as Linder, and as hard-hitting as it gets.
Take THAT line and put it under the pictures of Channon and Chris.
Hell, put THAT on a billboard in Knoxville under their pictures.
Magnificent.
4 September, 2009 at 9:16 am
”Look, I’m black, you’re Mexican, let’s not beat around the bush like a couple of dull white people!” – Wilhelmina (Vanessa L. Williams), Ugly Betty.
‘Endlessly quotable’ according to Entertainment Weekly. Not. They’re not even hiding their hate now.
We need to make them pay for it, spread this round. When they slip up we must pounce on their mistake.
Good find, Curt.
4 September, 2009 at 1:20 pm
Herr Doody, what’s with this film clip of Arlene Francis you keep posting?? I assume she was a jew, mother Leah Davis, sounds pretty kosher.
4 September, 2009 at 3:34 pm
Tom McReen Says:
4 September, 2009 at 9:16 am
“………….Good find, Curt.”
###########################################
Of course you’re going to compliment Curt, seeing as how you’re both the same dull, boring and repulsive individual.
4 September, 2009 at 8:40 pm
CW-2 Says:
4 September, 2009 at 1:20 pm
Herr Doody, what’s with this film clip of Arlene Francis you keep posting?? I assume she was a jew, mother Leah Davis, sounds pretty kosher.
Just noting subject mattter in 1957, pardon the duplicate.
4 September, 2009 at 9:13 pm
uh, it was a good find
good quotable here too curt:
You do know the goal is to have white men hunted and destroyed while giving blonde white women away as trophies.
5 September, 2009 at 1:07 pm
“At 19, she is young and juicy enough to compensate for her angular, rather hard and even manly features. Once she lost the baby fat, the hard looks really stood out (the heavy boozing with Bogart hastened this process).”
Spot on. I could never stand Betty Persky: eyes too small, voice too deep, manner TOO cool, face sharp enough to cut the man who caresses it. Puts me in mind of a very slightly more feminine kikess version of Katherine Hepburn. I like my ladies to at least LOOK soft.
When it comes to tuff movie broads, give me Barbara Stanwyck any day: you could always sense the feminine vulnerability underneath the hard veneer (which is what makes a man want to crack that veneer & conquer her).
5 September, 2009 at 5:40 pm
Too bad about that Hayes Office Code. I think those old movies would have been a lot more edgy and exciting without it. 1932’s “Scarface” is an excellent example of a great pre-Code gangster movie.
5 September, 2009 at 6:41 pm
N.B. Forrest Says:
I could never stand Betty Persky: eyes too small, voice too deep, manner TOO cool, face sharp enough to cut the man who caresses it.
Sorry to disagree with you General, but the young Bacall definitely was a babe. Bogie thought so too.
http://www.mrrl.org/blogs/wordpress/readerseye/wp-content/uploads/2008/12/lauren-bacall.jpg
http://avogueidea.files.wordpress.com/2009/06/lauren-bacall.jpg
http://www.insidesocal.com/outinhollywood/,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,bacalll16.jpg
http://janezlifeandtimes.files.wordpress.com/2009/04/lauren_bacall_bogart.jpg
When it comes to tuff movie broads, give me Barbara Stanwyck any day: you could always sense the feminine vulnerability underneath the hard veneer (which is what makes a man want to crack that veneer & conquer her).
Although Jew girls are usually repulsive, I would have loved the opportunity to have Bacall give a nice spit polish to my Bratwurst. Jew or not, I’d have had her marching around naked shouting “Sieg heil!” in no time, and that’s a fact.
6 September, 2009 at 12:40 pm
“Tim McGreen Says:
Of course you’re going to compliment Curt, seeing as how you’re both the same dull, boring and repulsive individual.”
Er, obvious troll is obvious?
“Too bad about that Hayes Office Code. I think those old movies would have been a lot more edgy and exciting without it. 1932’s “Scarface” is an excellent example of a great pre-Code gangster movie.”
I remember that from the first time you posted it.
6 September, 2009 at 8:21 pm
“Although Jew girls are usually repulsive, I would have loved the opportunity to have Bacall give a nice spit polish to my Bratwurst. Jew or not, I’d have had her marching around naked shouting “Sieg heil!” in no time, and that’s a fact.”
Ha. There have been a handful of movie jewesses who’ve caught the undivided attention of “Li’l Nate”: Hedy Lamarr was a goddess by any fair standard (even Uncle ‘Dolf thought so); the young Goldie Hawn was very comely; Jill St. John, Olivia Newton-John, both quite tasty; Among today’s yentas, Julia Louis-Dreyfus would be worth a hump, as would Keri Russell & Debra Messing.
Do they make Kevlar condoms?
7 September, 2009 at 12:05 am
You would schtup that yenta Julia Louise Dreyfuss? Oy gevelt!
Kerri Russell and Olivia Newton-John are Jewesses? That can’t be right. Jill St. John was pretty hot-looking in “Diamonds are Forever”. But upon reflection she did have a kind of haughty Jew princess-type personality. But no matter how “hot” looking they are in their youth, once those fair Daughters of Zion start to age, their Jew-genes start to assert themselves and they all eventually get that sexy hunched-over, babushka-wearing Golda Meir look.
7 September, 2009 at 3:53 am
The Meir-Abzug look is bad enough but the kikess genes soon reveal a hard strident brassy personality like loud-mouthed Ethel Merman.
7 September, 2009 at 10:03 pm
Both Russell & Newton-John are on a Wikipedia list of kike actors & actresses. They surprised me too.
7 September, 2009 at 11:23 pm
And don’t forget the catfish-faced “Queen of Mean” Leona Helmsley. Another lovely Jewess with an equally lovely Jewess personality. They all eventually turn out like that, don’t they?
7 November, 2009 at 8:25 pm
I had no idea Hawks played a role in the production of the thing. Great scifi film. I also liked the remake, but the classic is a must.
Science fiction is white through and through. The science fiction of today is the science fact of tomorrow.
One day I would like to produce a few science fiction films, needless to say there will be no non white actors portrayed in a positive light in any of my independent films.
Film is magic, its just like any other form of art. It is a means of conveying a message. A glimpse at another reality, which assists the artist in communicating the thought viruses produced. A means to convey culture. More white nationalists should show interest in media production.
We need comic book artists!
We need film producers!