Movie Review: 'Bright Victory' (1951)

by N.B. Forrest

22 February 2005

After WWII, the Hollywitzim decided that the perfect time to begin jewing the minds of the unsuspecting American goyim in earnest had arrived at long last. They began making films carefully designed to poison the minds of normal-but-naive Whites by injecting the fake guilt that leads to a loathing of both self and the whole of American history. Before and during the war, of course, Hitler & the Nazis were the ones used by the jews as the don't-be-like those-evil-bastards villains, but once Germany was safely and profitably crushed, they immediately turned their glaring klieg lights on straight White society: now the straw monsters were the "whitebread" midwestern hayseed, the uptight suburbanite in the Land of Ticky-Tacky and, above all, the Southern "white trash" racist.

Naturally, these tikkun pieces were executed with varying degrees of skill & subtlety. One of the slickest was "Bright Victory." Arthur Kennedy stars as Larry Nevins, a sergeant blinded by a German sniper's slug. This Nevins character is a Southerner from an upper middle-class background. The jewshit starts to flow in a scene with Nevins on the hospital flight back to the States: a friendly darkie in a neck brace sits down beside him and strikes up a conversation. They're getting along like a house afire when cuffey mentions a restaurant in Atlanta: "Ah, yes - I know it well!" Nevins enthuses. "You've eaten there too, eh?" "Why, I was a waiter there, Sarge!" Upon hearing this, the flashing red "NIGGER! NIGGER!" sign finally lights up in his head (we're supposed to buy the notion that Niggy's voice didn't instantly give him away to a Southern boy). The smile slowly leaves Nevins' face. The darkie asks him what's the matter, and Nevins quietly asks him to get a nurse. He does, then Nevins has the nurse sit down beside him, taking the place of Spittin' Jazzbo, who puts on that old Hurt Negro Face the hebes made them wear before Whitey had been softened up enough to accept the Bad Nigga Scowl we've come to know and love so well.

Once Nevins settles into the hospital, he bumps into a blind one, Joe Morgan. Again, they make fast friends (what with Nevins being tone-deaf as well as blind). For a time, Nevins and his new choco-buddy are inseparable - then when they walk back into the ward, yukkin' it up after an excursion, Nevins overhears a mention of black patients and blurts out "I didn't know they let niggers in here!" Dead silence, then Po' Ol' Joe lets him know that he's of the brillo persuasion - with the utmost in dignified sadness, natch. From this point, the greatly embarrassed Nevins get the cold shoulder from all the White patients (Please suspend your Disbelief. Thank you.)

Well now, we damn sure know this cracker's got a lot to think about, don't we, goyim?!

After he's recovered enough to take a trip down home to Florida, he wastes no time in proving that he's been Reflecting: on the ride home from the train station, his mother tells him their nigger maid took off for a higher paying factory job in Dee-troit, complaining about how "our nigras" have gotten all uppity during the war. "Why do you talk like that, mother?" Got His Mind Right Larry scolds angrily. "It's not 1860 - they're NOT 'our nigras'!" (That's right - you tell 'er, bubeleh! You lost your sight fighting that kind of bullshit! Un- Amurricun, itz!) When they pull up to the house, Nevins' father (played by that old commie cocksmoker Will Geer) sternly tells his wife to get out of the car so he can take Larry out for a drink. At the bar, the old man sadly tells his son: "Mother talks like that because thats the way she was raised - we all were...."

As I said, this movie is very slick indeed: Nevins isn't portrayed as some kind of cardboard-cutout Racist Jerk of the Meatheaded "Ghosts of Mississippi" sort; on the contrary, it's a very sympathetic portrait on the surface, which is what makes it such effective agitprop. The "main" theme is Nevins' dramatic recovery process, and we see the his despair as he struggles to come to terms with his blindness (including an attempt at suicide), and all the difficult steps involved in training the blind to be independent. The film was even shot in a real Army hospital for blinded soldiers. The spoonful-of-sugar thread is about Nevins' love life, involving the Girl He Left Behind versus a sweet "dame" he met in a bar when he was in the hospital. Kennedy is excellent as this basically decent young man who finds the strength & courage to deal with his loss - and to change his "outmoded" racist thinking in order to march in lockstep with the Jew World Order.

Screw the Oscar - there should be an Ehrenboig for flicks like this.


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