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.


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