by Mark Michaels
The title is very appropriate, the film is little more than a lot of lies about Whites,
especially Whites with enough pride to want to see our culture live. This film was done by
CBC (Canadian Broadcasting Company) several years ago. Recently a friend recorded it off
of Showtime and sent it to me. Living in Washington state I am quite familiar with the
CBC, and considering their normal quality of production and quality of actors this is quite
a step up.
Sarah Polly (Go and a number of other Jewish filth films) plays our central character,
Catherine Chapman. Before I go on, I will note that one can easily draw a vast number of
comparisons between this film and the story of the Canadian Heritage Front (save for the
fact that the Ernst Zündel character in White Lie is female, played by Lynn Redgrave)
and two of its former activitists turned traitor. But I'll stick to the task at hand, which
is reviewing the film.
The film opens up to the voice of Catherine Chapman giving a brief narrative against a
rather dark and gloomy setting. The image is of a swinging corpse with a place card reading
"race traitor." This will make sense at the end of the film.
Then we move to a large high-school auditorium where the students are learning all about
the wonders of Canada's multiracial and multicultural society from Jew Allen Green (Albert
Schultz). After the Jewboy finishes up, he so kindly allows for questions.
Catherine Chapman takes the podium and tells the story of her hunt for a job. She went to
a burger place and the manager asked her if she spoke a second language. She said that she
had six years of French, to which the manger replied that he was talking about Vietnamese.
So in the usual tone of Jewish arrogance Allen Green tells Chapman, so you weren't qualified
what is your question. She responds, "I guess my question is how many languages do you need
to flip burgers?"
Green tells the audience that some would say the more the better, then he looks at Catherine
and says, "Some would say that is a classic racist statement." There it is folks: you
question multiculturalism and you're a racist NAZI fascist, and whatever other smear word
the Jews are using now. In a connected scene right after the multiculturalism speech,
Catherine's teacher hands her back an essay with an F on it. The title of the essay is
"Christmas is dead." I am assuming the students were supposed to write essays praising
multiracialism, instead Ms. Chapman chose to write about real concerns of Whites today,
namely cultural destruction.
We later learn that Catherine's essay dealt with the removal of traditional European
Christmas carols, while Hanukah songs were legion. Catherine asks why she got an F
and the teacher informs her that the essay wasn't in the spirit of the assignment. Damn
you, you're supposed to be a robot, don't you know breaking from that really rocks the
boat? The teacher so kindly tells Catherine that she may rewrite the essay, Catherine
refuses in a principled stand. It would seem the message is, "Anyone with principles is a
Later she boards a bus while giving an internal monologue that goes on to thoroughly trash
so- called "tolerance" for what is. "Isn't tolerance a two-way street, or do we just have
tolerate them?" That may not be the exact quote but that's the basic idea. At no point in
the film is the question answered. It is merely implied that anyone holding her point of
view is an evil and violent racist.
A rather angry Chapman goes home and logs onto the Internet, where she finds her way into a,
gasp, racist chat room. Don't worry, I am not going to treat every scene in the film, but I
think the opening is key to understanding this piece of propaganda. While she is chatting
with some evil racists, an individual comes into the room and informs them that there is a
$50 prize for best essay. Catherine submits her "Christmas is dead" essay, and in just a
couple of days receives a message her informing her that she has won and where to collect
Catherine finds her way into a sort of pool hall/recreation room where we are introduced to
Erina, who is the first real-life racist Catherine meets. Erina gives Catherine her prize
money and a little information about an organization called the National Identity Movement,
or NIM for short. The title of this group is a word-association game. The word "national"
is just one of these "racialistspeak" words: National Socialism, White Nationalism,
Nationalist, and so on. Identity -- we can't forget those Christian Identity folks --
might look at this deeper as an attack on racial identity for whites. "Movement" is again
a 'racialistspeak' word for the collective White resistance movement.
Erina invites Catherine to attend a party at the home of Inga Kolneder (Lynn Redgrave; I
guess this is what the Jews figure Ernst Zündel would look like as a woman). Catherine
goes to the well-attended party and meets with the instant praise of her fellow haters for
her essay. Also introduced is Rex Brennan (Joseph Kell). The Inga and Rex characters
exist to show that all adults in the White Resistance movement are there to recruit and
exploit youth. It isn't clear why -- perhaps because they are evil people -- or even
whether they really believe in the cause themselves. Suffice it to say, a mix of
Catherine gets the VIP treatment and even helps solve a computer problem for NIM. Then
what appears to be a Molotov cocktail comes through the window. Inga is seriously hurt,
and without Catherine's aid might have been killed. The Rex Brennan character gives an
excellent speech to a reporter about the hypocrisy shown by the media in dealing with the
crime of commies and that ilk as compared to how it would be treated if a White racialist
did something to a kike. This is another issue that is quite true but never addressed in
the film. I guess because racists are bad people nothing they say matters, true or not.
Catherine is now firmly entrenched with the evil racists.
Erina takes Catherine to a White-racialist concert at what would appear to be a local pub.
The lead singer is a blonde-haired and blue-eyed Aryan boy by the name of Ian (Jonathan
Scarfe). This is clearly a reference to Ian Stuart. The band he sings for sounds like your
average hatecore band. Of course, the filmmakers never address the violent, anti-white
lyrics in kaffir music, which are legion today. None of the characters in this film are
deep, or really developed at all. With the exception of Catherine and Erina all the
characters are static.
Catherine goes on to college where she rooms with an Asian, whom Catherine refers to as her
"cover." Whether intentional or unintentional I cannot be sure, but this is a very poignant
observation of Whites that have token Asian or kaffir friends. They are using them simply
as a cover to make sure none will think them gasp, cry, have a candlelight vigil, RACIST.
Catherine continues to write for NIM and, of course, engage in literature distributions.
She is almost caught committing the horrible crime of handing out flyers in the university
library but an evil racist cop shows her a back way out and she gets away. Another scene
depicts police as evil racists (I am sure a good deal of them are on our side; they have to
deal with the kaffirs everyday and I am sure that is a great lesson in racial realities):
When the police come to break up a racist concert the cop goes in and all nice and friendly
tells the White racists they have to go. Outside Ian tells an old Jew something to the
effect of, "I don't know how you got missed the first time but weıll get you the
Now we can move ahead to the Christmas party. First Ian arrives at Catherine's home to
pick her up to attend a traditional Christmas party with Inga, Rex, and a number of other
people. I guess anyone who wants to maintain our European traditions and not sell out to
the god of Jewish materialism is an evil bigot as well. Anyway, Ian makes a good impression
on Catherine's father. I think the message here is that while racialists may appear to be
a sane, rational individuals, they are really just violent thugs, as we'll see later in the
movie. Catherine and Ian attend the Yule celebration, it is really rather nice. Inga
raises the issue of low White birthrates, and encourages Catherine to have children.
Now we can move to the film's turning point. Ian and Catherine return to Ian's home. She
asks him about the NS flags he has, and he tells her the truth: the Germans were the good
guys in the second world war. Then he outlines some basic revisionist ideas on the
so-called "Holocaust." Then we have the filmıs only sex scene; however during this scene
the film jumps back and forth between three NIM members firebombing a synagogue and
Catherine and Ian making love. Inside the old Jewess catches on fire and comes stumbling
out. I guess we are supposed to infer from this that two Whites having sex is the same as
burning Jews. Anyway, Erina can't bring herself to run, stays to put the Jewess out. Then
she is caught by the police. Erina won't come back into the film for a while now.
Now everything is building up to Catherine's "redemption" from evil. She attacks a bum
woman in an ally after Ian and a friend of his attack the two bums she was with. Then we
fast-forward to Ian and Catherine in a woodsy setting talking about the attack on the bums,
and Ian persuades her that in reality she enjoyed beating the bum. This leads to the
beginning of a sex scene involving handcuffs, but the film cuts to Ian's car driving down
the road to evil White hate music. He then pulls off the road for the sole purpose of
beating up a poor Mexican having car troubles. Damn those racists are evil.
Ian and Catherine proceed to a racialist gathering of sorts, with all the usual stereotypes.
Lots of guys with guns shooting (see kiddies, only evil racists want firearms, you should
just turn them over to uncle Rosenthal, er...ah, I mean Uncle Sam) at targets with various
left-wingers' pictures on them and complete with a fiery sermon by a Christian Identity
pastor (William Colgate) giving some basic facts. We are in a very real war, and in this
war the color of our skin is our uniform. They use some flashy camera work to make him
look "super evil."
Catherine then engages in a televised debate with Jewboy Allen Green, where using facts she
thoroughly trounces his pathetic egalitarian party line. The way they negate this is after
the debate a couple of skinheads beat the living hell out of the Jewboy.
Erina comes back in at this point to tell Catherine that she has sold out because the evil
NIM abandoned her. Erina also gave up her comrades in the firebombing. Catherine's world
starts to come apart. She learns she is pregnant with Ian's (whom she effectively has
broken up with) child, and she considers getting it aborted. She is still pretending that
she is part of the movement. Then she goes to a so-called "Holocau$t" exhibit and views
photos of what those evil racist Nazis did to the poor innocent Jews. Then she goes to see
our Jewish friend Allen Green, still in the hospital from his run-in with a couple of
skins. While the firebombing that almost killed Inga is displayed as "no big deal," the
attack on this Jew is the most terrible thing to happen since the so-called
Now we have an interesting twist -- Allen Green tells Catherine that he isn't a Jew. This
is just nonsense, Green is an obviously Jewish surname. The attempt here is to portray
being a Jew as a religious persuasion rather than an ethnic group.
Now Catherine openly turns traitor, her old comrades at NIM hate her guts (understandably
so, I would say). What is interesting is when Green goes to publicly announce his triumph
with Catherine the "anti-Nazis" reject and boo her. Now she is accepted by none, and the
evil racists are out to get her, so it is a ruin-her-life sort of thing. Now the beginning
of the movie becomes clear. The NIM people caught up with Erina and strung her up (hence
the swinging corpse and race traitor card). Catherine gives a concluding narrative against
the same background the film started with about all the events that we don't see and the
evils of hate. Never really states why anything she said earlier was wrong, other than
'hate' is bad and leads to getting strung up.
To be honest, I like these kind of movies and I'll tell you why: The Jews are looking weak
and pathetic, and this type of idiotic-at-best propaganda shows it. It may hold the
attention of the lemmings, but for the thinking Whites, for the people we want to reach, it
is just pathetic. I don't think the Jews fumbled up this as bad as American History X,
but it is close, and it is just as illogical and undeveloped a transformation of belief as
in X. The Jews' time is running short, and they know it. They're weaker then
they've ever been before, and it is scaring the hell out of them. I think we can look
forward to more of this blatant and stupid propaganda. There is light at the end of the
tunnel, weıve just have to get there.
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