Ghost World
by Stephen Hollett
I know it's been out for a while, but if you're ever
perusing the video store looking for a movie to rent,
don't make it "Ghost World." This movie, directed by
jew Terry Zwigoff, is the quintessential example of
anti-White propaganda. In fact, when kike Zwigoff is
dragged before a justice of the New World Order, it is
this film that prosecutors will use to sentence him to
death by crack-crazed nigger.
The story is about two bitter, sarcastic girls who
are graduating from high school. They are, of course,
disgusted by America's vapid, consumer-driven society
-- you know, where people actually have to work to buy
the things that they need to survive. One of the
girls, Rebecca, played by Scarlett Johansson, is a
pretty White girl (albeit a piss-poor actress) who
slowly becomes something really awful -- a shallow
consumer. She gets a job, rents an apartment and is
even seen shopping at Crate & Barrel! Meanwhile Enid,
played by Thora Birch, is a sassy, misunderstood
'non-conformist' who just wants to create great art
and figure out what's wrong with the world. And of
course, as we're reminded several times throughout the
movie, Enid's a jew. Enid, being the rebellious
intellectual type, flunks art -- so she can't graduate
high school until she re-takes it in summer school.
She goes to summer school, sits in a room full of
shallow, mostly White students and -- oh, the humanity --
the clueless White teacher doesn't recognize the depth
of Enid's art.
About twenty long minutes in, Zwigoff's inane dark
'humor' becomes totally unbearable -- and perhaps he
realizes this. So, to recapture his borg-like liberal
audience, he throws in an ostensibly unrelated scene
from a local convenience store where a friend of the
dynamic duo works. Courtesy of a problem customer in
the store, we now meet the director's apparent
interpretation of 'White trash.' He's the
stereotypical White nightmare, complete with farmer's
tan, mullet-from-hell, spinning nun chucks and
spouting some ill-informed interpretation of the Bill
of Rights. You know -- ranting about things that only
lunatics demand, like freedom of speech, etc. He's an
absolute parody of homophobic, non-liberal White
Americans. And the brainwashed masses guffaw
uncontrollably...
In steps Seymour (played by Steve Buscemi). He's a
pathetic fortyish loner that collects old 78 records.
At first perceived as a dork, he eventually achieves
god-like status with Enid. Mostly because Seymour
hates everyone, is also a pseudo non-conformist, only
listens to negro ragtime and blues artists -- and he
is deeply disturbed by a "whitewash' that he discovers
at his place of employment. In fact, Seymour proves
this whitewash by showing Enid an old placard from
Coon's Chicken, which was a company later recreated
as Cook's Chicken to hide this outrageous injustice.
It is here that we begin to see how the intrinsic
corruption of the White corporate world is keeping a
brother down. And how racism against minorities never
really goes away, it just gets repackaged and blah,
blah, blah.
Enid offers the Coon's Chicken sign as her art class
assignment, and copies Buscemi's tired monologue
verbatim to explain her motivation for submitting this
piece of 'art.' This leads to an absurd censorship
scene at an art gallery where the toothy, big-lipped
negro sign is ripped down by a fat White woman and a
posse of well dressed, yuppie bruthas. Eventually
fortyish Seymour and eighteenish Enid wind up in the
sack. This is a creepy scene that can only come from
the depraved jewish mind -- and a scene that I suspect
led to countless hours of fierce masturbation for
Zwigoff and his ilk. The movie ends in a confused
artsy statement about life's journeys and breaking
away -- attempted in true jewish fashion. Because
Zwigoff, like fellow hack Spielberg and other Israeli
directors, desperately wants to communicate on an
intellectual level -- to present brilliant
philosophical statements without speaking them. But
they can't -- because jews are copiers not creators.
And all the money in the world isn't going to turn any
jewish hack filmmaker into a Tarkovsky or a Ford or a
Welles or a Bergman.
What really bugs me about "Ghost World" are Zwigoff's
surreptitious mise-en-scènes. He uses the landscape to
tell much of the story and to justify Enid's teen
angst. The world is a miserable place all around her --
that's why she is the way she is. When Enid and
Rebecca are arguing out in front of their new
apartment, a White woman walks by, pregnant and
smoking a cigarette. While Enid walks down the street,
there's a lunkhead White guy wearing a Burger King hat
and stuffing his face with fast food. In the video
store, it's a White guy that doesn't know the
difference between Fellini's "8 1/2" and the trashy
movie "9 1/2 Weeks." It's also a White guy that calls
Rebecca an "Aryan" and goes out of his way to use the
word 'jew' in his communications with Enid; with
idiotic statements like "How are you jewing today?"
Meanwhile the young and attractive Enid and Rebecca,
presumably in Los Angeles or another multicultural
paradise, walk unescorted down the street day and
night without fear of robbery or rape. You see,
in "Ghost World" only White people and their
democratic, capitalist society are the enemy. If all
people were smart, creative jews like Enid, the world
would be just perfect.
I don't have a problem with "Ghost World"'s fundamental
statement. I wish more people would reject the
ordinary, that they'd study art instead of law, or
learn a new language instead of memorizing basketball
stats. Every commercial I see for painted September
11th memorial quarters, Ab-Rollers or the Psychic
Friends Network makes me want to scream. But Zwigoff
creates this mixed message mess that ignores the very
root of America's consume/breed/obey culture -- that
it's oftentimes signed, sealed and delivered by jews.
Who the fuck else was selling clip-on flags on
September 12th for $29.95, or $25 gas masks for $500
plus shipping?
Instead of buying or renting this movie, buy a gun.
Then go to the range and learn how to defend yourself
with it.
STEPHEN HOLLETT
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