The Faustian West, The Propasphere, and "Signs"

by Karl Kammler

August 6, 2002

In "Time of the Signs: A Review of M. Night Shyamalan's Signs," The Cat Lady tells us,

In the end, we realize that Shyamalan has created yet another movie in which each and every detail is integrated into the plot, in which there are no freak accidents, in which everything makes sense, in which all the bad things contribute to a higher good -- and yet nothing was merely predictable. Shyamalan is the directorial equivalent of a provident God, creating a universe in which hope and courage can flourish. This is a director of genius.

This observation is a pregnant one, and after seeing "Signs" this weekend, its importance cannot be overstated. Movies like "Signs" can recharge the spiritual batteries of our people, bringing them into a balance between faith and logic, as well.

A dip into VNN's own presence and its impact on the Propasphere helps to reveal the wonder at work in the movie, one that White Nationalist readers will become much more sensitive to after seeing this film. In Reader Mail 160, Alex Linder writes, "My philosophy is: the world advances by irony. I would almost bet you that we will end up winning because of something an orthodox rabbi does."

Well, the fact that the director of "Signs" is a Hindu is one such sweet irony, and more than pure serendipity. Constantin von Hoffmeister reports from Madras, India, in Reader Mail 158 on his experience of visiting an Indian bar. He says, "You have Hindi music in the background and old old waiters who treat every White man like a God (they are used to it from the Raj)." That's how we ended up with this wonderful movie from Shyamalan, a movie laden with respect for Whites. The Cat Lady correctly points out that "Shyamalan may be an alien, but he seems to identify with and appreciate White Americans." This respect is the consequence of the past actions of our race as it conquered the world, establishing the Raj in India, before the White Man went into global retreat in the 20th century. The White race is an attractive and majestic race, and it is only natural that Shyamalan subconsciously admires it. Whites should graciously accept the compliment and reward this director for his loyalty to the fixed, hierarchical order of Nature by seeing his film at the theater. This movie is the sort of payoff from our past that might lead to White renaissance one day.

VNN readers will appreciate "Signs," since it takes a certain level of emotional detachment to be a complete White Nationalist, a certain willingness to abandon the misleading mark posts this Judaized society hammers in, striking out on one's own path of independent thought, investigation, and rumination. Amidst all the emotional scenes and its theme of the need for faith, the movie also shows the proper place and value of reason. Dr. Reddy's factual analysis of the locations of the crop circles, for example, reveals the best place that he should position himself for the coming future. Likewise, Graham Morgan ultimately decides to rise above the emotionalism of his personal history and take some heavy things at face value, making the necessary mental connections to come up with some unexpected and amazing solutions to the problems that faced his family. He had faith that there was an implicit, logical order at work in this universe. Things happen for a reason, and there is a way to make events turn out in one's favor by choosing wisely and working in sync with the laws of reality.

Faith and hope are essential; logic is an equally necessary partner. Logic allows one to rise above the screaming tempest of current events and personal histories, providing a Nature's-eye view of the great sweep of time, and the groundwork for the future. Faith and emotion gives one a motivation to use that logic and act upon it. Apollo and Dionysus work together. Salt to taste. Derive and call up as much or as little meaning as you need as a catalyst to understand and to act. Of course, in this postmodern age of nihilism and deconstruction for its own sake, one has to have faith that logic will continue to hold. Faith that the universe will seamlessly unfold, as it should when one is acting logically in tune with its laws, is unbeatable.

Indeed, a very relevant quote from Kevin Alfred Strom's eulogy to Dr. Pierce from the August 3 American Dissident Voices broadcast becomes quite meaningful after seeing "Signs." Strom observes,

The unimaginably immense universe shines down upon us, an infinite field of galaxies and the blackness of the void. In its structure and in the nature of Time itself, operating not according to chance as some would have it, but according to absolute laws in which one moment is the inevitable and unavoidable father of the next, there was an inherent pattern which led to the development of Life from non-living matter. Just as inevitably, consciousness developed among living beings and eventually there arose among conscious beings our Kind-- our race -- on planet Earth. And among our Kind, there occasionally arises a Great Man, a man who can see the Future beckoning, who knows that we face a choice between Infinity and Nothingness -- a man like William Luther Pierce. That such a man could arise among us -- that the birth and life of such a man was inherent in the structure of this universe of stars from the very beginning of Time -- should give us hope, should banish fear, should bind us together for the rest of our lives and call us to give those lives so that our journey to those stars, our ascent upon William Pierce's Upward Path can begin.

Strom's eulogy to Dr. Pierce reminds us of our capabilities and our better natures as White men and women. Where some find fear-evoking randomness and confusion on the surface, those with the power of foresight and logic -- those hallmarks of Faustian, Western Man -- possess the ability to perceive the inherent order lurking just beneath the chaos. That dispassionate mode of analysis lets one peer at the elegant architecture of the universe as it flows forth through time. This gives we Westerners both a practical and a psychological advantage over our enemies, earthly enemies perhaps more hostile and alien than the green men from outer space depicted in "Signs."

As The Cat Lady points out, there is a happy absence, and even a subversion, of Jewish influence in this movie. It is useful to note that "Signs" makes an important commentary on the role of television in the American household. Television serves, at moments, as a good source of information for the Hess family about what is happening. Watched too long, however, or absorbed passively without independent interpretation and logical action, it only feeds obsession and paralysis.

Some say M. Night Shyamalan will overshadow Jew Spielberg. Excellent! "Signs" moves your spirit; Spielberg moves your bowels. Movies today are far from ideal, but sometimes nuggets of gold break through. We should collect these valuables and make the most of them. Get people to see this movie, let this film drown out all the surrounding pap Hollywood emits at the public.

There are no coincidences. There are "Signs" all around us, including in VNN's own niche as it cuts through the propasphere, that tell us "itz coming."


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