Masterpiece Theatre's Adaptation of Trollope's
A True Classic
Hollywitz could never have pulled this off, even if some member of the Trashy Tribe therein had wished to. As Dr. Pierce put it in his April 20th ADV broadcast,“And when a smart, well-organized group has certain inherent pathological tendencies that it is unable to control, the group may come to grief despite all of its cleverness and despite its apparent stranglehold on the course of events.”Anthony Trollope's novel offers penetrating insights into that group's pathologies which pertain to the way we live now as it was when written almost 130 years ago. Among those certain inherent pathological tendencies is a chronic lack of restraint. That's why English screenwriter Andrew Davies had to produce this superb rendition. Not even Stanley Kubrick, a jew with a good veneer of English gentility would have been up to it. This story pertains both to that veneer and what lies beneath.
I. Background: The rhetoric parroted by many jews and their pet neo-cons dates back near 2 centuries. By 1875, The Gilded Age had arrived in America and a similar rash of sleazy swindlers, speculators, carpetbaggers and scalawags had taken Europe. The remnants of the aristocracy had thoroughly putrefied, inbred and wallowed in ineptitude. The mycelia of the jew had already spread far in this rotten milieu, though its fruit wouldn't spring up like deadly toadstools until 1914. “Keeping up appearances”was the order of the day in this Gilded Age. Enter Augustus Melmotte, a jew's jew, who seeks to buy up both the appearance and substance of power from upper class twits all too eager to sell out to him. Before going further, a quick overview of heroes, fools and villains is in order. The PBS Who's Who gives the names of the cast.
Paul Montague is as heroic a character as any to emerge from Trollope's world. Unlike the titled twits in this tale, Paul, an engineer, represents the best of the English bourgeoisie. He is a man of but little inherited wealth, who has had that sucked into a dubious American venture in California by a dim uncle and a shady American flim-flam man named Hamilton Fisker. The latter catalyzes both the beginning of Melmotte's great swindle, and Paul's eventual lancing of that abscess. Paul Montague has depth as a character while afflicted with a few minor defects which lend credibility to him. He kept a mistress, goes along somewhat with the Lifestyles of The Idiotic Who Want to Be Rich and Famous and in the end, after encompassing the doom of Melmotte, renews his partnership with his near nemesis, Fisker. For all that, he is honest, a principled businessman and he gets his girl in the end. The character of Paul Montague clearly represents England's best hope, the modern professional who handily knocks down evil jews.
Roger Carbury, Squire of Carbury represents the Good Old England That Was. He is the only titled creature in Trollope's world not to be carried away by the decadent excesses which bring the rest of the aristocracy to crawl at the feet of jewry. As such, he is a dinosaur among rats, slugs, leeches, lice, lampreys and jews and doomed to extinction. He lacks the “social skills” necessary to win the sole object of his love, his cousin Henrietta Carbury, who in the end falls into the hand of Paul Montague. In spite of his obsolescence, his adhesion to good Aryan virtues like honesty, duty to family, frugality, temperance, a healthy hatred of jews like Melmotte and such is in itself heroic. Roger Carbury begins the tale as Paul's elder friend, mentor and benefactor but Paul's participation in the vile Melmotte's enterprise and the bittersweet rivalry for Hetta Carbury estranges him from Paul and leaves him a sad, forlorn creature who stoically faces his eventual doom as a bachelor who will cede title to his country manor to his despicable cousin, Sir Felix, Hetta's brother, for lack of a better heir.
Mr. Alf, Editor of the Evening Pulpit is a more improbable sort of hero, an honest, Gentile journalist. He refuses to be seduced into dishonestly praising Lady Carbury's literary pretensions, he runs for a seat in the House of Commons against Melmotte, warning the voters of Melmotte's “pie in the sky”promises, loses to Melmotte but gets satisfaction from publishing the ugly truth about Melmotte gotten from Paul Montague and thus bringing the scheming kike down. Given recent events in Europe, the superior coverage of zionist atrocities in Palestine by English newspapers, one might surmise that Mr. Alf's species is not quite extinct, in Europe anyway.
Henrietta Carbury merits honorable mention as the heroine in this grim satire solely on the basis of her rejection of her mother's deceitful, pretentious lifestyle in favor of accepting Paul Montague's hand in marriage.
The vast majority of Trollope's petty aristocracy falls into this category simply for lack of any real aptitude for good or ill, though it tends to ill. The denizens of the Beargarden, a club for the stupid with aristocratic pretensions, the various Longstaffes, Nidderdales, Grendalls and company serve as props, filling Trollope's landscape with characters very similar to The Drones in P.J. Wodehouse's world. Most of the fools are on Melmotte's Board of Directors, appointed by him with no illusions regarding their worth, fiscal or real. A few fools are more central to the plot than others and deserve a Dishonorable Mention.
Lady Matilda Carbury should almost be excluded from the Role of Fools were it not for her spoliation of her sociopathic son, Sir Felix. She sold herself to the old baronet, Sir Patrick Carbury while she was young and pretty, endured his beatings and bad temper, bore him two children and came into a little wealth upon his death. But, her own trickery and whoredom breeds true in her son, Sir Felix, the current baronet, who has wheedled her to the brink of the financial abyss which he has plunged himself into. Aside from her literary pretensions and aspirations, her only hope is to sell her two children to wealthier spouses, as she once sold herself. She urges Hetta to wed Roger Carbury, but devotes most of her energy to trying to sell Sir Felix to none other than Marie Melmotte, daughter of the arch jew Augustus.
Miss Hurtle serves as the American Woman in Trollope's universe. She fatally shot her first husband in Oregon, then sets out to get herself no other man than Paul Montague. While Paul keeps her as a mistress for a while, he jilts her in favor of Hetta Carbury. This arouses the scorned Miss Hurtle's fury for a good while, who succeeds in antagonizing Hetta and Paul until nearly the end. She finally shows some wisdom, realizes that Paul will never love her again and even recommends to Hetta that she had better take Paul over Roger, who is too good to be a “real man” in her estimation.
Marie Melmotte begins the tale as a mediocre little jewess who has suddenly come into money via her father's swindling, but with little mind or will of her own. She falls for Sir Felix, in part because its what she is expected to do, in part because he is superficially less repulsive than her previous suitors. Marie Melmotte is a fat coin with which Augustus Melmotte aspires to purchase an English title. After finally being rejected by Sir Felix, she then rapidly matures into full shrewish adult jew sowhood. She even refuses to part with money her daddy put in her name to save his crooked ass, which is the last straw for him.
Sir Felix Carbury is the antithesis of his older cousin Roger. His sole worth is in his good looks. Aside from that, he is a gambler, a drunkard, a rake and a sissy all rolled into one worthless biped. As such, he represents the Victorian (or modern for that matter) English aristocracy perfectly. Sir Felix spends most of the story lackadaisically pursuing Marie Melmotte and her considerable purse. In the end, Sir Felix doesn't even have the grit to pull this off, finally disappointing Marie Melmotte rather than exerting the energy to keep up a potentially lucrative lie. Sir Felix gets his ass kicked by a commoner named John Crumb, who catches him in the act of trying to rape his sweetheart, Ruby Ruggles. Pity these things don't always work out.
This business of degenerate Victorian titled inbreeds selling their dicks and papers to rich little jewesses had horrible consequences. Trollope couldn't have known, in 1875, that a certain syphilitic swinger called Sir Randolph Churchill, The Duck of Marlborough, would take a rich little half-jewess named Jenny Jerome as his bride to pay off some debts incurred by his dissipated lifestyle. The pustular vaginal discharge of this union was one Winston Leonard Spencer Churchill. I recommend Irving's Churchill's War: Triumph in Adversity for substantiation. The trend Trollope saw was common enough and by no means unique to England. Well, apropos of real villains, lets examine Trollope's.
While the fools aforementioned perpetrate their petty vices, these creatures amount to little without greater scoundrels to drive events. Trollope provides two of these heavyweights and they still have much relevance to the way we live now. The first of these is
Hamilton K. Fisker, who represents the American Man and more to Trollope's readers. Fisker enters the story as a business partner in Fisker, Montague and Montague. The elder Montague, in California took up with Fisker without Paul's consent and invested Paul's money before informing him of it first in a mill built in Fiskerville Ca, then in the big scam which is central to this tale. Fisker had heard of Augustus Melmotte while in America, and immediately hit upon a scheme worthy of the Great Swindler Himself, The Great South Central Pacific and Mexican Railway. In Trollope's words, “The object of Fisker, Montague, and Montague was not to make a railway to Vera Cruz, but to float a company.”Fisker meets Melmotte by brazening his way to him through Paul. Melmotte initially raises a few seemingly prudent questions about the enterprise. One exchange in particular rings down through nigh 130 years to today. Melmotte asked,“You have to back that with a certain amount of paid-up capital?”
“We take care, sir, in the West not to cripple commerce too closely by old-fashioned bandages. Look at what we've done already, sir, by having our limbs pretty free. ...”
That clenched it. Melmotte knew a gold mine when it walked into his door, just as the Yankee Fisker knew whose door to knock on. Trollope's clear sight of this nearly 130 years ago marks him as a true classic author. All the jew needed to do was to invest in the mountain of bullshit that America was, even then, to reap a fortune it had hitherto never had. The fact that it had such a willing and able partner in a certain species of American biped is beyond the scope of this review, for now, just think “freemasonry.”
Frisker's callous disregard for young Paul's genuine desire to build a railroad catalyzes the decisive turn in the story. When Paul discovers that not a spike had been driven for the “railroad” he resolves to bring down Melmotte. Fisker is genuinely puzzled that Paul Montague won't just keep his mouth shut about the state of affairs and sit on his ass reaping paper profit. Some people just don't get it. Still, as malevolent as Fisker might be, he has to got to take a distant second place to
Augustus Melmotte for pure evil. Melmotte represents jewry incarnate and as jews do not change, the archetype of 1875 holds true for today. Trollope rightly enough gives no single country as the bastard Melmotte's native one. We learn that he has been run out of numerous cities, all traditional jew burgs, Jew York, Hamburg, Vienna and finally Paris before he infests London. His current “wife” is not the mother of his spawn, Marie. The aristocratic flies buzzing around this walking dung know these matters well enough but while they might pooh-pooh him behind his back, they suck-poop up to him all the same.
I will skip ahead a little here and just say that while the character of Melmotte as Trollope wrote of him was a large man, Andrew Davies picked the little kike David Suchet, known for his portrayal of Agatha Christie's Poirot, to play the part and he played it very well with great gusto. I propose we reward him with some suitable gilded statuette, shoved up his ass before dropping the hanging scaffold out beneath his feet. That being said, consider what Suchet said about the character he portrayed.
"It's extraordinary," says Suchet, "how the lives of these two men [Robert Maxwell and Melmotte] are similar, but I do not try to portray Maxwell. I play Melmotte with a greater understanding because of my gained knowledge about Maxwell."
He is quick to point out that the similarity between Melmotte and Maxwell was not just his idea. "In many literary journals Maxwell and Melmotte are often tied together," he says. "But what audiences will see, if they know Maxwell's background, is that he mirrors the life of Melmotte and it is ironic that we use the word 'mirror' here."
Suchet agrees Melmotte is a monster. "He's vile to his family, including his downtrodden wife, he beats his daughter Marie, he's a crook, a charlatan, a pig and he's violent... yet he has a vision of free trade and free movement of money which in his mind could lead to a new and better world.
“A new and better world” for whom Mr. Kike Actor? So, Augustus Melmotte resembles Robert Maxwell, say more so than Jacob Schiff, Samuel Bronfman, Michael Milken or Benjamin Disraeli, who became Prime Minister in 1874? No matter, Melmotte the fictitious archekike embodied the lot of them.
The cigar chain-smoking, boozing, lying, scheming Melmotte reminds me a great deal of Winston Churchill as much as any heeb. In this age of neocons like David Horowitz, or Michael Eisner's disgusting little Libertoon nigger catamite Larry Elder, the fact that Trollope made his Melmotte out to be a Tory, the party of Churchill, resonates with the way we live now.
II. The Video: Get it! The educational value of this ranks along with Jude Suss and indeed there is much that Suss Oppenheimer and Augustus Melmotte have in common. Whether you buy it, rent it or catch it on Masterpiece Theatre if it ever shows again and record it, this is a must have for White Nationalists. I seldom recommend video over a novel but this production merits it. Trollope spins a good yarn but many folk don't have the time or patience to wade through 825 pages of Victorian prose. The video comes in a 4 part series to 5 hours. Melmotte's malevolence comes through stronger in the video than in the novel. The acting met with my usual high expectations for British productions. The sets, costumes and such were rich. Watching 5 hours of Tee Vee without one Hollywitzian Wise Negro or Super Dyke will be a refreshing experience for many of you, your friends and associates. For that matter, there are no “lovable jews” in this production. They are well portrayed as evil, mental, physical and moral degenerates, to wit, truthfully. No exploding cars, spaceships or other jew special effects shuck and jive pollute this series. You probably won't see such a candid portrayal of kikery again on the Tube until we win the White Revolution. I am waiting to see Branaugh do The Merchant of Venice but I shan't hold my breath. Bite the bullet and buy the damned thing. It's that good.
III. The Book: Those of you endowed with literary proclivities, some time or lack of lucre will do well to get the book. It's a good read. The plot moves a little slowly at first but the action picks up in time. This was meant to be a satire and as a novel it must finally be judged on those merits. Trollope was a little too kind to Melmotte though his portrayal of blue-blooded imbeciles was apt. The plot has many devious twists and subtleties that I haven't covered. Wouldn't want to spoil it all for you.
IV. Conclusion: Whether considering the video or the novel, The Way We Live Now illustrates sinister jewry writ large in a way that Dickens never dreamt of. The modus operandi of kikedom shines through clearly. The comparison to Robert Maxwell by the jew actor Suchet is good and shows but one example of the relevance of this story to today. This is what makes a classic. On a final optimistic note, I remind you that jews do indeed suffer from numerous jewroses and kikeoses which get them into big trouble. All it took in this tale was a couple determined White Men to bring the jew Mogul down. That is a moral the readers of VNN can live by.
GERALD E. MORRIS
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