Based on the bestselling cold-sweat nightmare of yid scribbler Ira Levin, "Boys" begins with a young, kinky-haired jew "idealist" using his hooked proboscis to sniff around South America on the trail of old Nazi "war criminals." He gets a local shitlet to plant a bug in the mansion of his German employer and hits paydirt: a secret meeting of SS men, including the hebes' most elusive quarry of all, Dr. Josef Mengele (Gregory Peck). Mengele tells the men he has a vitally important mission for them: they are to kill 94 old men living in various White nations. Jewboy takes his recording of the meeting, scurries ratlike back to his hotel and makes a breathless phone call to geriatric Nazi hunter Ezra Lieberman (played with just the right amount of jewiness by Laurence Olivier). Lieberman, kvetching about being woken in the middle of the night, doesn't want to hear it. Then Mengele and his SS boys kick the jewpunk's door in, give him the cold steel and grab the tape. Mengele picks up the receiver and listens in silence for a long moment as Lieberman says "Hello? Hello?" then hangs up.
Reluctantly, Lieberman continues the pursuit where the stiff left off. He cashes in a chit with a newswire crony who owes him a favor, asking to be informed about any unusual deaths of 65 year-old men in Europe and North America; sure enough, they start dropping like flies. Looking for clues as to the purpose of the killings, Lieberman interviews the widows. On the first such visit, he notices the widow has a rather aloof teenage son with dark brown hair and penetrating blue eyes. A son she clearly dotes on. The mean ol' bagel snapper takes an instant dislike to the poor little fellow. Next Lieberman moves on to the States to meet with another widow. As he questions her in her kitchen, who strolls in but the smart-ass German kid. The old zhid is astonished. "Do you know you have carbon copy?" he sputters. The widow tells him her son was adopted.
Lieberman is badly rattled now. He goes to a German prison to interrogate the woman who handled the American adoptions, a camp guard he'd been responsible for putting in the joint (Uta Hagen). Great scene: "Healthy Aryan babies they were, with dark hair & beautiful blue eyes -- if you're looking for a lost Jewish grandson, forget it!" she laughed mockingly as he stared at her, his eyes slits. Lieberman then consults with a medical researcher and finally puts two and two together: Mengele cloned himself a mess of Lil' Adolfs down in Brazil then farmed 'em out. Now, 14 years later, he was waxing their domineering minor civil servant pappies in order to replicate the childhood environment of the Original.
The unforgettable showdown scene takes place at the Wheelock home in rural Pennsylvania. Mengele, by now on the run not only from the chew but also from his own people due to his refusal to pull the plug on his beloved project, arrives first. When Old Man Wheelock gruffly asks "You Lieberman?" he's surprised, but keeps his composure, nodding. Wheelock breeds Dobermans, which give Mengele a suspicious growl. After asking "Lieberman" about why he hunts Nazis, Wheelock snorts "I dunno about Nazis -- it's the niggers we gotta worry about...." Do tell. Knowing he's got to get rid of the hounds, Mengele gives him a spiel about being scared of dogs ever since being attacked as a child. Wheelock laughs and puts them in the next room, locking the door. As soon as this is done, Herr Doktor pulls his .45, frog-marches Wheelock to the basement and ventilates him. He gets a photo album and his face lights up with glee as he looks at his creation.
He hears a car in the drive; his old tormentor at last. The jew opens the door to the living room and sees the man on the couch pointing a smokepole at him: "Herr Lieberman," he says quietly with a deliciously evil smile. The hebe charges like a mad bull; Mengele gets off a shot that badly wounds but doesn't stop him. Thus ensues one of the most exciting -- and Depends-wearing hilarious -- scenes in the history of film as the arch enemies tear at each other with tooth and claw, rolling around on the floor. I howl every damn time I see it. Finally, Mengele gets the upper hand and the pistol. Standing to his full height over the prostrate kike -- deep scratches on his face, his white suit covered in blood -- he utters with an SS guard's commanding voice one of my all-time favorite lines of dialogue: "Get up - Jew. Up!"
BWAHAHAHA!
I won't spoil the ending for the few here who haven't seen this masterpiece yet.
It's clear that Peck had a hoot portraying Mengele; he eats up the screen. In another side-splitting scene he attacks one of the assassins at a Nazi ball, in the mistaken assumption that he'd failed to carry out orders. "Shut up, you ugly bitch!" he barks at the man's wife as she angrily scolds him for attacking her hubby.
James Mason is in it, too. Now, what more could you possibly ask for?
God, do I love this movie. Do yourself a favor and see it.
N.B. FORREST
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Based on the bestselling cold-sweat nightmare of yid scribbler Ira Levin, "Boys" begins with a young, kinky-haired jew "idealist" using his hooked proboscis to sniff around South America on the trail of old Nazi "war criminals." He gets a local shitlet to plant a bug in the mansion of his German employer and hits paydirt: a secret meeting of SS men, including the hebes' most elusive quarry of all, Dr. Josef Mengele (Gregory Peck). Mengele tells the men he has a vitally important mission for them: they are to kill 94 old men living in various White nations. Jewboy takes his recording of the meeting, scurries ratlike back to his hotel and makes a breathless phone call to geriatric Nazi hunter Ezra Lieberman (played with just the right amount of jewiness by Laurence Olivier). Lieberman, kvetching about being woken in the middle of the night, doesn't want to hear it. Then Mengele and his SS boys kick the jewpunk's door in, give him the cold steel and grab the tape. Mengele picks up the receiver and listens in silence for a long moment as Lieberman says "Hello? Hello?" then hangs up.
Reluctantly, Lieberman continues the pursuit where the stiff left off. He cashes in a chit with a newswire crony who owes him a favor, asking to be informed about any unusual deaths of 65 year-old men in Europe and North America; sure enough, they start dropping like flies. Looking for clues as to the purpose of the killings, Lieberman interviews the widows. On the first such visit, he notices the widow has a rather aloof teenage son with dark brown hair and penetrating blue eyes. A son she clearly dotes on. The mean ol' bagel snapper takes an instant dislike to the poor little fellow. Next Lieberman moves on to the States to meet with another widow. As he questions her in her kitchen, who strolls in but the smart-ass German kid. The old zhid is astonished. "Do you know you have carbon copy?" he sputters. The widow tells him her son was adopted.
He hears a car in the drive; his old tormentor at last. The jew opens the door to the living room and sees the man on the couch pointing a smokepole at him: "Herr Lieberman," he says quietly with a deliciously evil smile. The hebe charges like a mad bull; Mengele gets off a shot that badly wounds but doesn't stop him. Thus ensues one of the most exciting -- and Depends-wearing hilarious -- scenes in the history of film as the arch enemies tear at each other with tooth and claw, rolling around on the floor. I howl every damn time I see it. Finally, Mengele gets the upper hand and the pistol. Standing to his full height over the prostrate kike -- deep scratches on his face, his white suit covered in blood -- he utters with an SS guard's commanding voice one of my all-time favorite lines of dialogue: "Get up - Jew. Up!"