by Winston Smith
Cube is a sci-fi drama about seven people trapped in a giant cube made up of
hundreds of smaller ones. Each person wakes up in a separate room with six hatchways
leading to adjacent cubes (one in the ceiling, floor, etc...). The people begin to find
one another and decide they must work together if they are to get out of this
three-dimensional maze alive. Cube is the story of their attempt to navigate the rooms,
avoid booby traps, and find the one door that leads to freedom.
Now let's think about this for a minute. We have six people trapped in dire circumstances.
Leaders will arise, character will out, people will die. We tend to view this sort of movie
in terms of natural selection: The weak die off, the strong survive to produce the next
generation. Those chosen by the filmmakers to survive represent somebody's vision of the
preferable, if not the ideal. The Darwinian world of the Cube offers a perfect opportunity
for the propagandist to play God in a Hollywood parallel to welfare-state social engineers.
How surprising that both 'producers' see Whites-bad, blacks-good.
We all know who our liberal elites think the cream of humanity, and it's certainly not
White males. (Logically, white females should be excluded too, but you know what they
say: "Divide and conquer.") We know the casting by heart: Valiant black males, weak
White males, White females -- usually blue-eyed blondes -- as the prize. (Black females
tend to be absent, needed as judges on TV dramas). We know the storyline, too: The
cowardly, weak, stupid, racist, sexist, misogynist White males get killed off, (as in
Pitch Black), while the strong-willed, trustworthy, go-get-em' black males work effectively
with the White women and survive -- conquering heroes. An thick stream of movies and TV
shows promoting these stereotypes pours out of Hollywood each year. The producers convey
to the White male: You and all White men are weak and evil, and your role model is nothing
more than the lazy glutton Homer Simpson. To seduce White females and turn them against
White males, the producers misrepresent black males as caring and loving where White men
are not; and nobler and stronger, too. Seemingly a typical Tribe vehicle for promoting
these sorts of genocidal lies, Cube actually repays a closer look.
The movie has six characters who deceive you in the beginning. There is one black male,
Quentin, a muscular cop. There are two White females: Leaven, a beautiful high-school
student, good with numbers; and Holloway, a 30- or 40-something doctor. The three White
males are staples of multicultural hateprop: Rennes is a hardened and slightly deranged
career criminal; Kazan is a retarded teen; Worth is a 20-something passive who sits around
moping, defeated and weak. When Quentin asks him, "What's wrong with you? Don't you have
something to live for out there, a wife or girlfriend?," Worth replies sarcastically,
"Well, I have a large collection of pornography."
Quentin repeatedly refers to Worth as "pathetic," while comforting Holloway and Leaven
when they feel scared and helpless. Quentin immediately takes charge and becomes the
leader of the group, motivating and boosting morale. In the beginning he is the perennial
leader/hero type, a real solution-oriented guy. All the while the only young White male
not physically or mentally deficient sits in the corner feeling sorry for himself.
Needless to say, I was ready to vomit.
In hindsight, there was something fishy about the start. Maybe I should have been more
alert, but the film tricks you. It just seemed so typical to me. After all, I was not
born in the late '40s! I grew up exposed to this crap! I unknowingly absorbed the
multicultural propaganda in my youth just before it reached the shrieking volume of
cacophony we hear today. So as I observed the opening events I thought to myself, "Oh
for the love of God, here we go again...." The thought of enduring the rest of this
movie made me sick.
As the film moves along, Rennes gets killed by one of the rooms in a particularly
unpleasant manner. One White male down, retard and loser to go! Things moved quickly
from there on. A different side of our black male hero emerges. He starts to lose it a
bit and turns on the retard, pushing him against the wall and threatening him for almost
getting him killed. He starts talking about leaving the retard behind, calling him extra
baggage that will endanger the others.
("But Holmes! Did Eisner and Jewison not teach us that the black man is most noble and
humane, and it is the White man who is of deplorable character?" "Why yes Watson, they
did teach us that! How odd of them!")
Holloway starts yelling at Quentin to stop, even calls him a "Nazi." Quentin does not
take this very well, (Heaven forbid the "visible minority" might be a nazi, an oppressor,
if you will!) He turns on Holloway and they have a shouting match. He insults her and
she returns the favor. This gets to him, and it ends with Quentin hitting her hard with
a open-handed blow, knocking her over. (When was the last time a movie showed a black man
HITTING a White woman?!) Could it be our mighty hero is not as he seemed? After this
scene my jaw was agape.
As the plot progresses, Worth becomes more active and helpful in dealing with the situation,
while Leaven does not seem to be cozying up to Quentin anymore. Quentin is just being a
cruel jerk, and Leaven clearly has shifted to the side of our White brother, Worth. This
is the amazing change; the black man...is the bad guy! A White male and White female have
teamed up in opposition to him and are protecting the retard from his cruelty! Stephen
Spielberg is turning over in his coffin!
Leaven and Worth use their considerable intelligence to figure out that the cubes change
position at regular intervals, so they must be in the right place at the right time in
order to get onto a kind of elevator that will carry them down to ground level and
freedom. Quentin has pretty much gone insane at this point and didn't have the brainpower
to keep up with them in the first place. (Well , I'll be rollin' in the pig pen! Ol' Phil
Rushton done got it right!)
Later, when Worth is in an adjacent room with the retard, Quentin and our beautiful White
sister Leaven get a moment alone. Quentin suggests they ditch the White males and take
off. Leaven is not impressed with his lack of humanity. Amazingly, he starts to come on
to her, stroking her hair. She is obviously frightened and most unreceptive. (It seems
that observing and comparing the conduct of Worth and Quentin has rendered Leaven immune
to "jungle fever.") This scene convinced me that all this dissident content probably was
not entirely coincidental. The image of this ugly black man stroking a beautiful White
woman's hair and coming on to her will elicit at least subdued racial awareness in White
males. Additionally, any White women watching this important scene will be cheering for
Leaven's white knight to rescue her from this monster. Valuable education indeed!
Worth, sure enough, arrives before Quentin can force himself on her and does battle with
him. Quentin is enraged that Worth would stop him and, in a surprisingly graphic sequence,
beats him badly as Leaven watches in horror. This, I believe, has a particularly powerful
effect, as it really brings home the message to any suburban white girl watching just how
brutal Mr. Diversity really is.
After all this, Leaven and Worth both know they will eventually be killed by Mr. Diversity
if they don't do something. Eventually they get away from him and work quickly to get to
the exit. This is where the movie approaches its end.
A few things before I'm finished.
First, there is a scene in which Worth confesses that he was part of the construction of
the cube, having designed the outer shell. He explains that he did not know anything else
about it beyond what immediately concerned him. He talks about how people just think about
what's in front of them and nothing else. They don't want to look at the big picture. We
hear a discussion of the cube's being designed so that the left hand doesn't know what the
right hand is doing. No one wants to question the system, just a big fat paycheck.
Indeed, the white real-estate agent in California or Florida does not know (or chooses not
to know) that the young married white couple is giving him business because of
government-engineered ethnic cleansing through immigration and population displacement
("White flight"). To him these people just want to live in a "nice" neighborhood, and
he's just doing his job, selling houses.
Secondly, Cube is a Canadian production. Perhaps you are aware of the fact the the
Canuck dollar is something like 67 American cents. Needless to say it is financially
difficult to make a film north of the border with just private money. There are two
government organizations, National Film Board of Canada and, as you see in the credits for
Cube, Telefilm Canada. Both have the same function: make it possible for Canadian
films to be made in Canada. This dissident thought was brought to you at least in part by
government money. Taxpayers funded this movie. I guess this is a crack in the system.
Maybe we have gotten to the point where we are more likely to see this kind of stuff in a
government-funded movie than in a entirely private one. Would Cube (with the casting of
Quentin) have been made by Warner Brothers or Dreamworks?
Thirdly, this film may not bring down the United States federal government or the European
Union but I believe it contains genuine dissident content. As the movie progresses we can
see that our beautiful white sister, Leaven, clearly prefers Worth over Mr. Diversity.
Worth turns out to be kind, caring, trustworthy and brave when is counts. All good
characteristics that women react positively to. He risks his life for the poor dumb
retard, Kazan, and refuses even to think about leaving him behind. Quentin, much earlier
on, expresses his wish to dump the poor the kid. Leaven has made her choice between the
two men. Worth has demonstrated his nobility; he is altruistic, selfless. No race can
survive in the long run without self-sacrifice and in-group altruism, boys and girls!
Quentin, on the other hand, turns out to be murderous, untrustworthy and psychologically
weak. He also turns out to be violent towards women.
Think of it: the white man and white woman working together effectively and successfully
to get away from the awful black man lurking around somewhere behind them. The natural
selection and sexual selection I spoke of earlier clearly is at work here. Leaven realizes
that Worth is the better man. Leaven and Worth clearly show that they are both far more
intelligent than Quentin could comprehend. Also, there is no overt sign that Leaven and
Worth will fall in love. Often in movies where a man and woman come out of some trauma
having averted danger it is implied that they go off afterwards and have great sex together
like in Speed. However, in this film, I think one can walk away from it thinking
there was something between Worth and Leaven. Which makes the ending much better.
So there you have it. A low-budget film that diverges from the cultural orthodoxy. And as
long as we continue to reject the American Empire's propaganda there will numerous
additional films like this made. And there messages will become bolder and more direct
as the Empire crumbles.
Winston Smith (firstname.lastname@example.org)
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