The Alien series has always stood apart as quality films by White directors
(Scott, Cameron, Fincher, Jeunet); movies regarded as special by
critics and fans alike. The films popularized the art of the
Swiss H.R. Giger, and are loaded with the same sort of diabolic Freudian and
religious symbolism rife in his art. Yet while entire University courses
have been dedicated to picking through these nether levels of symbolism, the
most obvious symbolic interpretation has been ignored.
I tried for a long time to avoid acknowledging the racist essence of the
Alien movies. To tag them as racist seemed facile and a tad smarmy. Yet,
upon recent collation my thoughts have attained certain inescapable
conclusions: 'Alien invasion' films are the collective subconscious trying
to warn us about our real alien invasion. The Alien series in particular,
stands out as a warning to Whites against the dangers of integration, and of
traitorous forms of government within. All four films feature the
predominantly White characters menaced by hyperviolent, black-skinned alien
creatures bent on murder and forced race-mixing.
"Alien Resurrection" (1997), as the best example of the four, is coded to show
how different genetic breeds of humans are fundamentally socially
incompatible. In the larger context of the Alien films, "Alien Resurrection"
represents the series' nadir of the encroachment of foreign genetic
pollution and the destruction of the White Race. Herein I will explain how
race and its interactions are symbolised in this film at a level invisible
to the racially unconscious.
This film premises itself on a racial experiment attempting to introduce
non-Whites into society and successfully exploit and pacify them. The
scientists responsible are aging White liberals - motivated, talented
activists assimilated into the mainstream by the tech sector - complete with
pony tails, butchy women, and a token mulatto female. Their leader is an
incompetent Hispanic, who commands a racially-mixed army of cowards and
The film begins with contaminated blood, and the use of this
racially-tainted blood to create a selection of freaks and misfits, from
which ever-darker-skinned, and ever-more-violent animals can be bred. Her
character now a White slave, Sigourney Weaver herself looks subtly darker in
this film, swarthier than before, when we last saw her as the final
female skinhead martyr to her race in "Alien 3."
Her bastard offspring are used in a scheme of White slavery that involves
the hapless working class, preyed upon by the slavers, the scientists, and
their alcoholic race traitor pirate allies, to create an influx of
cannibalistic blacks kept in their welfare cages and studied by the
Pollyannaish, ludicrously unprepared scientists.
Make no mistake, this film is both a skilful (if redundant) propaganda piece
once again further ironing onto our collective brains our modern egalitarian
society's unquestionable doctrine of inexorable racial integration, with the
invading monsters played for laughs and ultimately erotic and imitable.
Beneath the humour it is a poignant distress call for the White race, a call
- 'call,' remember that word - to wake up, and yet one sabotaged by the film
itself, collapsing resistance into a false victory, and a true victory for
the deceivers, in typical Postmodern ironic fashion.
Both of its main characters are White slaves. Jewess Winona Ryder's
character 'Call,' purposefully cast as an anemic irritant, is the only
character with purely White blood (literally white, in this case), and the
only one who actually gives a damn about her race, who wants to stop the
alien race and abort the miscegenation experiments. She is quite simply the
only racially conscious character in the film. No small irony or hidden
meaning in this! Childlike in stature and behaviour, she is also a White
slave, most likely a child sex slave judging by her looks.
When she first comes to assassinate Ripley, the rape victim/slave, her own
inefficiency (partly the egalitarian mistake of sending a neurotic girl
instead of a trained man on the mission, causing us to wonder about her
'resistance organisation') is her undoing. She hesitates, and can't act,
even when invited to by the jaded, racially demoralised Ripley to do so.
Ripley quickly takes command of the situation, mutilating her own hand like
in some twisted Kabbalist ritual, with her tattoo quite obvious, seducing
Call with lesbian undertones, and of course delaying her long enough to send
her into an ambush outside Ripley's cell.
Call is branded a 'terrorist,' by the establishment, which plans to execute
her and the pirate patsies. A supercool black gunslinger turns the tables
allowing the pirates to escape, trying to get off the ship (of state?)
before they are killed. First the slave-trading, woman-bashing pirate leader
gets killed for his moronic greed, after which Ripley appears and kills the
offending black Alien. No one else could defeat it, despite their
armaments, by the constant appeals to the fragility of the ship. Call makes
another racially aware remark, I can't believe you killed one of them.
It's like killing your own kind,' which Ripley, now an individualist,
brushes off by saying 'It was in my way.'
During the Alien escape, which occurs when the scientists are entranced by a
television screen and not minding the cages, the soldiers on board are
ordered to evacuate. At one point, around ten White soldiers are aboard a
pod, when an Hispanic soldier rushes in to join them. Before the pod
leaves, an Alien rushes into the pod. The result is a literal racial
blender' effect with blood everywhere. The Hispanic tries to escape but
gets dragged back in by the Alien. This is one of the most surprising
metaphors for race-mixing I've ever seen.
Later on, Hillard, the pirate leader's girlfriend with a subtly Negroid
style of braided hair and a compassionate attitude, gets killed in the much-publicised underwater scene, in which the characters swim through a flooded
kitchen. In interviews with the actors we learn that the water, though
crystalline in the film, was sickness-inducing and filthy, containing, among
garbage and other contaminants, dead pink pigs. Hillard, even though
overburdened with weapons, can't think to use them and gets dragged to her
death. The only hero is White Johner, who knows an enemy when he sees one
and wastes no time blowing one of the Aliens away with a grenade launcher.
Before they can leave the kitchen via an exit-pool, they must destroy a
number of infectious Alien eggs which surround them. Johner also recognises
the religious collusion at work here, when Ripley is attacked by one of the
facehugger creatures from an egg. "Jesus Christ! It's a god damn trap!
It's a god damn ambush!" Christianity is part of the broad set of
conditions which have been exploited to attack the White race - in this case
attempting to proselytise' Ripley by raping her. The others retreat before
they are attacked, and the supercool black guy Christie once again saves
them, as he neutralises the eggs.
Immediately after that scene we have the characters fleeing the remaining
Alien up what seems like a ladder of evolution, or fitness. Foremost is the
treacherous Wren (White), followed by Call and Johner (both White), then
Vriess (White) and his buddy Christie (black), tailed by the Alien, with
Distephano (Hispanic) and Ripley (Mulatto) waiting uselessly off to the side
in the buttresses, and the sexually explicit eggs lying fungus-like at the
This is definitely a weird scene. First, the treacherous Wren murders Call
outright and she falls back into the Alien sewer-pool. Her friend the
crippled Vriess attempts to murder the doctor in retaliation, but his gun
jams, letting Wren escape. Ripley makes a halfhearted attempt to stop him,
while the others, though nearly all of them are armed, do nothing, simply
staring stupidly. Next, the Alien attacks from below, and gets the better of
Christie, who appeals to Johner above for help. After inexplicably taking a
long time to respond, Johner finally shoots at the Alien and kills it.
Christie's reaction is even stranger: burned by the creature's blood, he
simply detaches himself from his safety harness and falls to his death in
the sewer-pool along with the creature.
Who saves them then, but Call herself, miraculously resurrected by the power
of her White blood. She tries to conceal her heritage, but gets exposed by
Ripley, and thereupon is subject to a tirade of objectification and jokes at
her expense. Distephano practically jumps up and down with glee, talking
about how he'd never thought he'd actually see one - does he mean actually
see a 'racialist'? White racialists are dehumanised, deemed robots,
designed by robots' when in fact their heritage gives them special abilities
- Call's compassion for her race, even for traitors like the scientists, is
Why do you care what happens to [humans]?' asks Ripley of Call. "Because
I'm programmed to." Call replies. Ripley puts the racial warrior in her
place by saying, "You're programmed to be an asshole? You're the new asshole
model they're putting out?" Do I even need to explain this?
Call also has the unique ability to control the ship's computer, and is
brought to another weird scene: Ripley leads her into a Christian chapel,
where Call makes a Catholic obsequy. Ripley coaxes her into taking control
of the ship's computer, by impelling her to insert a lead into her arm
reminiscent of an intravenous drug-user. Call can't destroy the ship at
this point, but can only reroute it to destroy itself on Earth.
The cast villain, arrogant White scientist Wren, wants them to avoid
aborting the racial experiment, and instead reroute the ship to dock at
Earth-base. Johner, depicted as an brutish, gun-loving drunken hick of a
White man, becomes racially conscious enough by this time that he asks Wren,
Yeah, haven't you been paying attention today [that the black aliens are
bad news]?, only to have his intellect besmirched yet again by Wren's
sarcastic dismissal, "Oh, the intellect speaks!" The hapless race-mixing
victim/White slave Purvis ends up waxing desperately heroic and killing the
scientist even as he himself dies from the parasite inside him, splattering
the others with blood.
En route to their escape ship, Ripley gets drawn into what amounts to an
Alien sex cult, complete with a sex scene that can be seen as either
interracial or interspecies depending on where you get your kicks. In the
sanctum sanctorum smeared with blood and slime we see the White scientists
cocooned helplessly, yet avidly watching the goings-on. Eventually things
turn violent and Ripley flees this cult, followed by a psychotic mulatto
Alien spawn called the 'Newborn.'
The height of disgustingness in the film, and in the series itself for that
matter, is reserved for this hybrid misfit Newborn, which kills both a White
scientist and an Hispanic soldier, before attacking and symbolically raping
Call, held at bay only by Ripley, who later kills the dangerous beast in a
symbolic abortion. As the great ship sends the black Aliens hurtling into
subtropical Africa, in an escape ship (named after a White woman) the four
battle-scarred White warriors, are the only survivors. The ending feels
over-triumphalist and cheap, with the pristine Earth spread out beneath
them. Perhaps this is because we know that neither of the females can bear
White children, Johner remains frustrated, and Vriess is impotent. The
Whites have survived but are doomed.
I leave the rest of the series for the reader to interpret. The first film
especially has lots of racial metaphor. The second focuses more on the US
Vietnam experience, and the third deals with the AIDS epidemic, but the
racial messages remain throughout. Watch this film as a grand metaphor
from the end of the 20th Century, and enjoy soldiers fighting righteously
for their race against internal treachery and horrific adversaries. Note a
moral of the films, too: That it is treason within, not the Aliens
themselves, which cause the trouble. In each film, White and Jewish
complicity, apathy, and/or treachery create all the problems; with full
cooperation, humans with their intelligence and science could whip the
Aliens easily. Something to think about.
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