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by Arch Stanton.

Last night I had an epiphany. It came after watching a movie titled “Russian Ark.” This 2002 Russian film is aptly titled as it encapsulates and preserves Russian culture as it was before the jewish/Bolshevik revolution of 1917. A lavish production filmed inside the state Hermitage in St. Petersburg , the film is a dream-walk through what Russia was before Tsar Nicholas was murdered and Russia was destroyed. The Empress Elizabeth Petrovna commissioned construction of the winter palace in 1754. Catherine The Great then built the adjoining, small Hermitage in 1764 to house her art collection. The “great hermitage” was built in 1771 and eventually declared a state museum by the communist overlords. The movie takes the viewer back through history using the character of an 19th-century French diplomat as a guide. It provides a fascinating look at various historical periods from Catharine The Great to Tsar Nicolas. The film employs an astonishing number of actors. The sheer panorama makes it difficult at points to think one is not actually looking through a window of time.

As the movie progresses, the lavishness increases until the end where the viewer finds snapshots of the spectacular parties and political functions of Russian court. Unlike an American movie that would undoubtedly portray such lavishness as a sickening feature of the white race thankfully lost, the Russians embrace their heritage. They portray their ancestors in a more loving light by the fact that they are not critical of, nor do they assign any blame for, their actions. These “slice of life” vignettes have literally hundreds of fully costumed historical figures in attendance. The splendor of the Russian court is visually astounding to the point where one actually feels humbled watching it. The last shot in the movie features panoramic views of the characters walking though the Hermitage. The men are dressed in a complex array of military and diplomatic service uniforms, while the women are delicate and beautiful in their display of elaborate gowns from the various eras. It is a breathtakingly beautiful display of white culture at what was probably its zenith.

When the screen finally went black, I suddenly felt that everything was tightly connected. It was as if I could see the whole of history in one long chain of events, stretching all the way back to the Bible. I felt like I could see everything that has happened and everything that is going to happen. It was like a perfect pattern laid out in front of me and I realized we were all a part of it and all trapped by it. I could see everything western culture had lost; not just the pomp and circumstance of its royal courts, but its very soul. My first thought was, “the jews really have destroyed it all; everything precious to western culture has been debased to its rudest elements or destroyed outright. The fat lady really has sung.” My second thought was that the first reaction most Americans would exhibit towards this film is a disgusting, egalitarian counterpoint to the Russian nobility: they would imagine the horrible conditions of squalor and misery suffered by the Russian peasantry. White western man is so imbued with guilt that he can no longer view beauty in its own right. He must always contrast the beauty of western civilization with the few ugly parts of it.

The classic perception of the screw-the-little-guy, “let them eat cake” syndrome (a statement never actually made by the lovely Marie) is typically ascribed by moderns to the nobility of previous eras. Yet, how many Americans have any knowledge of the actual social conditions of the peasant classes or their feelings towards the nobility? How many will ever think to contrast the typically-perceived horrific conditions endured by these peasants with their eventual slaughter by the jewish commissars who “liberated” Russia from its monarchal “oppressors”? How many know why Peter and Catherine of Russia were assigned the title of “great” by the very peasant classes they supposedly oppressed? Did anyone ever spontaneously assign the title of “great” to a communist politburo member? How many descriptions of these times have been squeezed and filtered though the lens of the jewish propagandist?

This movie provided an intense impression of a white woman’s culture now destroyed; a culture that strove to achieve high standards of beauty and excellence. Perhaps misguided at times, these standards were nonetheless essentially native to a culture that once valued poise, a demure nature, porcelain white skin and carefully coiffed hair. These were the women young girls dreamed of emulating; women who set social standards worth striving for.

The lack of body-piercing or tattoos in the movie was, of course, glaringly obvious. I couldn’t begin to imagine where an American director might find the same number of unmarked and unsullied women for such a film (i. e., women who have yet to embrace the jewish message “revel in your status as a worthless shiksa whore; after all, you’re no longer a lady, you’re a half-dead goth slut! Hate yourself! Hate your race! Show your hate by defacing your natural beauty! Tattoo and pierce your perfect skin! Roll like a dog in the filth of your debased status! Mate with the lowest form of life that can walk upright, spread your legs for it twice a day!”)

It took countless millennia for white civilization to climb out of the slime pits of animal savagery. Yet it took only the briefest moment for it to return to the abyss. When I look around America, I am sickened at the thought of how it is almost impossible to find white women without tattoos or body-piercings mutilating their perfect beauty. Even the very young have rings through their noses like the sluts they are to become. The other day I happened to pass an exquisitely beautiful white girl. She, not more than 14, was pandering to the blackest savage, who looked freshly arrived from an African jungle. The young girl, bright and alert, was dialing her cell phone while the savage looked on, dull and stupefied – not so much with disinterest as with a total lack of concentration or cognitive thought. My mind flashed on what this girl might look like after birthing a brood of half-breed savages who would forever remain with one foot mired in the African jungle. As dimwitted subhumans pop out one after another from her birth canal, this beautiful white girl will be transformed into an ugly skank, working the streets to support her savage stud’s crack habit. I had to leave quickly to distance the thought from my mind.

Where is the public disgust at young girls mutilating their bodies with piercings and tattoos and becoming sluts at 14? Where is the moral outrage concerning these same white children being turned over to Negro savages? (Contrast the latter to a really big public outrage, pedophilia: what are the real numbers of pedophilic predations compared to the Negro’s predations upon young white females? Which do you think poses the greater threat to American society, pedophiles or Negro role models openly presented to white teenagers as the finest mating material?).

After comparing old St. Petersburg to the modern West, one is hit with the realization that it may take hundreds of years for the white race to emerge from the slime pits of the jew’s cultural latrine. Only obscure images on film will recall the white man’s former glory, a glory that might have been the foundation of an even greater civilization had it not been infiltrated by the vile jew.