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
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
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"
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
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
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
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
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,
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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