A Clockwork Orange

by Alexander Macdonald

Released in 1971, A Clockwork Orange is Jew Stanley Kubrick's adaption of the novella by Anthony Burgess. It features many powerful and relevant themes, such as the violence of the individual as opposed to the violence of the State, the cruelty of "humane" methods of dealing with criminals as opposed to retributive justice, and the crude sexualisation of modern society...

However, nationalists will be especially interested in this film for different reasons. A Clockwork Orange speaks to us about the programme which Jews have for dealing with Aryans.

A (very) brief plot synopsis is in order:

The movie is set in the not-too-distant future (albeit an early 1970's take on the future). Alex, the anti-hero of the film, is a young man who, along with the members of his gang (his "droogs"), delights in acts of "ultra-violence". Violence, theft, and rape are amongst the favourite leisure activities of Alex and his droogies. In fact, he could almost be a negro, if he weren't such an intelligent, articulate character, and if one substituted jungle rhythms for his beloved Beethoven.

Near the beginning of the film, Alex and his pals beat up a tramp. They then steal a car, which they drive to an isolated house at night. After tricking the occupants into letting them in, they proceed to beat up the man who lives there (Mr Alexander, who later turns out to be a writer) and rape his wife. The next night, they pull the same trick on a woman who is alone in another isolated house, and Alex tries to rape her. In the struggle, he accidentally kills the woman, is betrayed by his droogs and arrested by the police.

In prison, Alex becomes a model inmate, and pretends to be a born again Christian, but finds himself no closer to early release. Desperate to get out, he volunteers for an experimental treatment designed to "cure" criminals by reconditioning their behaviour instead of punishing them. As the government Minister of the Interior says: "The Government can't be concerned any longer with outmoded penological theories. Soon we may be needing all of our prison space for political offenders." Political offenders who fall foul of "hate-crimes" and "speech-crimes" legislation, perhaps?

Alex is sent to the Ludovico Institute to undergo the new treatment at the hands of Dr BRODSKY, an obviously Jewish character played by an obviously Jewish actor. Alex is injected with drugs and forced to watch films filled with sex and violence, in a sort of reverse-aversion therapy designed to make him feel physically sick at the very prospect of sex and violence.

Perhaps the most interesting scene in the film occurs in the Ludovico Institute as Alex is forced to watch one of these movies. As Dr. BRODSKY sits in the rear of the cinema, Alex is shown images from the Third Reich to a soundtrack from Beethoven's Ninth Symphony. We don't actually see any real violence in this scene. It opens with a shot of Hitler at a Nuremberg rally, and includes shots of Nazis marching, German paratroopers, a German tank, and some burned out houses.

Alex is in agony watching this film, as he realises he is being conditioned to feel physical revulsion at his favourite composer, Beethoven. He appeals to the Jewish Dr BRODSKY, but is met with the reply:

"I'm sorry, Alex, this is for your own good..."

Alex leaves the Institute, now robbed of free will. He finds himself unable to defend himself and is punished by his former victims. He is set apon by a gang of tramps, then beaten up by his old gang members who have become policemen, before inadvertently finding himself in the clutches of the man whose wife he raped near the start of the film, Mr Alexander...

I'll let you watch the movie to discover what happens next. What we're really interested in here is the possible message which Jew director Kubrick inserted into the movie, especially the scene with the "nazi" film and the Beethoven soundtrack. Yggrassil, on his excellent site ( http://www.ddc.net/ygg/) argues that many ofKubrick's movies contain messages (perhaps inadvertently) which the culturally aware white nationalist can pick up on. Dr. William Pierce has also remarked that Kubrick was unlike any other Jewish director.

The lack of any real visible violence in the nazi/Beethoven film (certainly compared to the other brainwashing movies we are permitted to see, which contain rape and "ultra-violence") alerted my cultural antennae. After all, I knew that Kubrick was a Jew, and the character who broods over this scene, Dr Brodsky, is so obviously Jewish that it becomes impossible to question the deeper agenda for including a scene with Hitler and the Nazis. After all, everything which you see in a movie is there on purpose.

My own interpretation is this: Alex's experience is a metaphor for the wider experience of Aryans at the hands of the Jewish mindbenders. Dr Brodsky could be any Jewish media boss or Freudian charlatan or similar manipulator of Aryan culture and public opinion. Alex's behaviour is modified through exposure to movies. As we know, the movie business is as Jewish as the bagel trade.

The Nazis represent White nationalism, while the music of Beethoven represents Western culture and heritage. Aryans have been relentlessly conditioned to react to both with great discomfort, bordering on sickness. This conditioning has been applied by Jews and their helpers, especially through Jewish control of the news and entertainment media. (Which is why the greatness of White civilisation is now routinely dismissed as the work of "dead White males", and our young people listen to negroid jungle music while our art galleries are filled with Judeo-scatalogical degenerate art, etc...)

When he loses his capacity for violence, Alex loses his free will, and ceases to be a man. This is an excellent allegory for the feminised MTV generation of White "men" today who would rather lay down their lives and the lives of their women than be accused of "racism", as the events in bloody Wichita showed.

As Dr. Pierce says, the Jews are our misfortune.

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