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Movie Review: 'The Village'
by Iranian for Aryans
15 August 2004
"The Village": A Brief Review & A Rant
I saw Shyamalan's movie last night, and I was quite impressed. I disagree
with Rich Brooks's review and interpretation of the movie. The movie was
frightening, full in its development and explanation, which -- as opposed to
everyone else's view -- is a plus. This facet brought out richness in the
movie and helped paint an understandable picture of the goings-on of the
community. The movie was incredibly clean, and very sweet in its treatment
of the relationship between the heroine and the hero. Additionally, with the
use of color, music, and photography it turned out to be quite scary, as
intended.
The movie begins by showing a father weep over his child's coffin, with one
of the gravestones showing a 19th-century lifespan. This date fit with the
mannerisms, dress, technological state of being of the religious/utopian
community. Apparently, everything was idyllic except for the ubiquitous
monsters in the forest surrounding the glade. As the story progressed, one
intrepid young man, Lucius, wanted to go to the "towns" to bring back
medicinal help for his community. As a result of his desire, the monsters
started making excursions into the community, in some quite frightful
scenes.
Regardless of the fear-factor underlying everything, the pastoral setting of
the community was quite beautiful. Girls acting well-mannered, boys treating
the girls as ladies, men as upright leaders of the community, women as
stately matrons, all working together, living together with a rustic sense
of happiness and earthiness. Everyone was white with the sole exception of
the village doctor/elder, who seemed to be of mixed-Amerindian blood. As for
the village idiot, played by Jew Brody, I have seen his type of nose on many
south Europeans, and not just Jews. Anyway, let this suffice.
What a breath of fresh air! No commuting to work, no automobiles, no
pollutants, no Jew-dazed, niggerized whites! No MTV, no rock 'n' roll, no
drums! No slatternly women, no shopping malls, no soul-poisoning doctrines
or gadgets or toys for the masses! Caste distinctions, communal effort, in
tune with Nature, free of the vices of modernity! The only music: a piano
playing waltzes for a traditional wedding. Economy: an autonomous village
that can cure a broken leg, birth a calf, make ale, and reap a harvest. The
diffident relation between the sexes, and the sweetness and loveliness with
which Ivy (the heroine) deals with others and specially her flame, Lucius.
All these traits of a noble, and beautiful past that all the reviews have
scoffed at are what know-nothing White Nationalists pay lip-service to as
ideal, yet will never desire to practice! Indeed, I hear White Nationalists
rave about Shakespeare, Beethoven, Mozart, and Tintoretto! Ha! But which of
these White Nationalists reads, listens to, and watches these works of
creativity on a regular basis? Which White Nationalist lustily covets a new
recording of Corelli's concerti grossi, or boasts about being able to "name
that composer," or poet or dramatist or painter? Which "Defender of the
White Race" knows his Wagner operas beyond the staple Ride of the Valkyries?
No wonder so many reviews have been negative! No violence, no buxom blondes
with bosoms spilling out! Boy, it took the movie quite a bit of time to
"get" anywhere, didn't it? Let's see the blood and gore!
Be that as it may, as the movie progresses, Lucius is caught between life
and death, and it is his beloved bride-to-be's self-annointed duty to go
through the woods to bring back "medicines" from the "towns" True love
knows no limits and triumphs over cowardice as this beautiful young Irish
flower takes a dangerous sojourn through the scary woods with nothing but a
backpack and a cane to aid her blindness! Well, she makes it out of the
woods and does in fact obtain the "medicines" she so desperately sought.
With her return to Lucius's bedside, the movie abruptly ends.
Incidentally, before her journey a great shocker hits home. Her father, a
sedate elder, tells her that the monsters do not exist, that they have been used to keep the others from visiting the outside world, a world of chicanery,
ill-behavior, and murder. Later, Shyamalan ingeniously brings out this twist
that the community was founded on the desire to shield off the outside world
of modernity from their utopia. The lie of monsters and forced rusticity
were responses to the degeneration without. Interestingly enough, almost every
elder had a loved-one brutalized and killed in the big cities. (Ha ha! I
immediately said, "So! They escaped the niggers too, huh?!") The whole
community was built on a lie in order divorce the innocents and the scarred
ones from the ills of modern-day dystopia.
But folks, let us be realistic. There is no escape. The end is written on
the wall, and it is inevitable and immutable. The White Man no longer
exists. He is deracinated, effete, scared, discombobulated, atomized,
niggerized, Jew-ified, and spiritually indolent. His days are numbered. No
American Northwest, no Idaho, no "White Revolution" is going to change him.
In truth, White People care more about the turd on their sidewalk than they
do about the message of Racial and Spiritual renewal.
IRANIAN FOR ARYANS
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