March 8, 2003

Jews hate Adolf Hitler because, among other things, he was prone to breaking Robert Locke's four rules of "legitimate critique of Jews."

But Hitler persevered and in time became the biggest movie star in Hollywitz history. Though a day does not pass without mention of his name in the Jewish media, it is still shocking to realize "Evil Adolf" has appeared in four times as many movies as Tom Cruise, twice as many as Tom Hanks, and more movies than Jack Nicholson and Robert DeNiro combined. Though Hitler's been dead for 58 years, he plays himself in the wildly successful 2002 Playstation videogame, Medal of Honor Underground, as well as in the bombastic credits of half-Jew comic Bill Maher's new 2003 HBO series, Real Time with Bill Maher. And he looks great doing it. Hitler is 114-years-old, dead, and the guy is still getting steady work! Sean Connery eat your heart out.

This has prompted more than one struggling actor, after bombing an audition, to ask, what's a guy gotta do in this town to get a role? Gas six million Jews? Ha! If only.

And the books. Oh so many books! You'd need the fingers and toes of six million shoeless sheenies to count them all.

Yet, as with most things Jewish, the deluge of Hitler media is not intended to enlighten, but rather to obfuscate, confuse, and control.

Peddling Hitler is a dangerous game for Jews because in a very real way it is a full-contact sport with White gentiles - we are directly involved. We're the heirs of the post-WWII era Hitler warned us about. Our present is "the failed destiny of the West," the very future Nazism was intended to prevent from coming to fruition, the very future Hitler saw as inevitable if he were to fail. Was his vision laughable, like an episode of Crossing Over with John Edwards? Or deadly serious and on target, like a double-barrel shotgun in the mouth? We are the ones to know whether Hitler's vision was paranoid or prophetic. The world outside our window is the final arbiter.

For this reason, Jews have secured an exclusive contract with A.H., as he's called in The Biz. Hitler is always mediated by Jews or Jew-approved gentiles to ensure he is always framed - prefaced, footnoted, scripted, edited and epilogued - in such a way that all the important issues are ceded in advance to Jewish interests. Professional filmmakers, professors, authors, and artists are permitted to tinker with details, but never key plot points, and never the moral of the story. Those who dare to "push the boundaries" and "transgress the limits" to explore the reality beneath the politicized cliches get Leuchtered (professionally murdered), Irvinged (discredited, slurred, mocked), MacDonalded (suppressed), or Zundeled (criminally persecuted). Whether ruining lives or producing mass media, Jewish strategy is always the same: use a veneer of variety and difference to obscure movement in a single direction.

"Hitler's Secretary," a film currently playing the art house circuit in a few big cities, illustrates how this is true even in a "controversial" film that purports to allow an intimate, firsthand account of Hitler "the man." All the Jewish whining and general "concern" about it "humanizing a monster" (a la the movie "Max" from earlier this year) creates the impression that it is a truly alternative account of Hitler, a potentially "dangerous" film that somehow escaped the Judeo-lockdown on media. Not true. It is, however, a fascinating film with some great moments.

"Hitler's Secretary" chronicles Fraulein Traudl Junge's experiences of Hitler, during the period of 1943 to 1945 when, as a 22-year-old woman, she served as his personal secretary. Junge was onsite when Hitler survived an assassination attempt, when news arrived of various military downturns for the Reich, and when he took various visitors; she was with Hitler and Eva and the Goebbels family at the end of the war when defeat was certain. Junge transcribed Hitler's last will and testament. Indeed, one of the most moving parts of the film is her account of the sadness and abandonment she felt at the very end, just after Hitler committed suicide.

"Hitler's Secretary" is less of a documentary than a monologue. The entire film is of an elderly Junge sitting in a chair speaking. Except for the one or two instances when an offscreen voice poses a question, hers is the only voice in the entire film. There is no wartime imagery. No photos, film clips, tape recordings or re-enactments. The camera is on Lunge, and she talks. Here's some of what she talks about:

The first ten minutes are devoted to obligatory genuflection before Jews and Jewish interests. In a montage of clips Junge speaks of her naivete, of her youth, her poor judgement, her emotional need for a father figure, a sense of family and belonging. She speaks of how her early admiration of Hitler has given way to a lifetime of regret and hatred of the man, of coming to know him for the monster he really was, a deceptive charmer who was in fact a genocidal criminal, a madman, evil incarnate, yada yada yada. This montage forms a somber apology and instructs the audience that no matter what transpires over the next 90 minutes, none of it contradicts the official Jewish position. Fraulein Junge's mandatory self-flagellation is strewn throughout the movie as well. It culminates in the closing text of the movie, which tells us how just before Fraulein Junge died of cancer in 2002 at the age of 81, she wrote, "I'm starting to forgive myself."

• She was fascinated by Adolf Hitler.
• He was considered a truly great man by the German people.
• Woman swooned over him and wrote him love letters.
• He was a pleasant boss and a fatherly friend. I deliberately ignored all the warning voices inside me and enjoyed the time by his side almost until the bitter end.
• It wasn't what he said, but the way he said things and how he did things.
• In person he was not at all like he was when speaking at the rallies, with arms stretch out and booming voice with the intense rolling R's. He was polite, courteous, friendly, and well mannered.

Hitler loved his dog Blondie. A dog trainer had schooled Blondie so well that Hitler was in awe of the precocious canine's discipline and intelligence. What particularly amazed him - and he delighted in showing this to guests - was how Blondie would sing on command. He'd say, "Sing, Blondie," and the dog would emit a yodel-like howl. But that is not all. He would then say, "Lower, Blondie," and his beloved four-legged friend would drop an octave.

A story I found hilarious was Junge's account of when, after her trial period, Hitler asked her if she would like to stay on and continue to be his secretary. She described how nervous she was when he called her for a meeting. She entered the room and Hitler was there with one or two others. He said something like, "Your obligation is almost up. You've done a wonderful job. Would you like to stay? … As you must imagine, it is difficult for me to hire young pretty women, because they get married and run off!" He smiled and said, "Perhaps I'd should implement a policy of hiring only ugly women with unattractive facial disfigurements, like the Negroes with plates in their lips."

Junge explains she was hired as a personal secretary, not a military secretary, and that she did not transcribe military documents. She also notes how rare political conversation was "around the office" or in any of the settings in which Hitler engaged with his assistants (e.g., during lunch or evening tea). However, the few times she did hear him speak politically were memorable not only for their rarity, but for the deep seriousness of his conviction and commitment. According to Junge, even in the darkest moments nearing the close of the war Hitler said couldn't failure, surrendering or negotiating for peace were not options. Bolshevism had to be stopped now or it would be unstoppable. If the West destroys Germany they will be destroying themselves; they will not be able to escape international Jewry without Germany. Hitler also explained to Junge that he could not negotiate for peace because international Jewry and the Allies it controls would murder Germany, rape its women, castrate its men, raze its industry, strip it of its ability to be an independent nation and people. Compromise would not spare Germans, it would secure their demise.

Nearing the end of the film, Traudl Junge says that she'd like to ask Hitler, in this world or the next, what if you discovered you had Jewish blood, would you gas yourself?

Did you hear what I heard? Gas? A-ha, I thought to myself, now I see what's going on. Junge then explains how she could be so foolish as to not see through the man she admired to the genocidal monster underneath with this telling bit:

Where there are Jews there is reality reversal. While Junge's admiration for Hitler and National Socialism were based on her actual experience of the man, the place and the time, she is re-educated by Jews to see her experience as a lie forged of her own weakness, the result of her "girlish naivete" and "personal insecurities." The truth, says the Jew, is in these books, written, funded, published, promoted, distributed and taught by Jews. Yes, Fraulein Junge, "Then, for whatever reason, in the 1960s all this information came out." Jewish lies displaced reality for Junge as they continue to displace reality for billions of Whites throughout the West.

As stated in the beginning of this article, the danger in Jews peddling Hitlerware is that we White gentiles will see through their careful, heavy-handed framing to the worldview expressed by the man himself - and see the truth of his words reflected in the world around us. So, naturally, I was most curious about how this woman who spent her teenage years and early 20s in Hitler's Germany and the rest of her life in an increasingly Bolshevised, Judaized west would mark the contrast. I was astonished to watch her say this:

None of it was true. Bolsheviks didn't mass-rape German women. The Allies didn't stuff Germans into concentration camps to starve to death. Dresden wasn't firebombed. Jews did not institute Soviet-style re-education in Germany's schools. Jewish media has not vilified and demonized White culture in general and German culture in particular as a prelude to unraveling and destroying White western culture. Jews have not targeted White western nations for massive non-White immigration. Had any of this been pointed out to her on camera -- which it wasn't -- she no doubt would have explained how that's "different," how it's horror pales in comparison to the work of Hitler, a man she once admired but now calls the "greatest criminal who ever lived."

Even if it is the case that Junge's postwar experience was so singularly sheltered and she never experienced any of what was just described, notice the double-standard involved in what she accepts as truth. She surrenders her personal experience for the narratives of Jews when it comes to Hitler, but white knuckles her personal experience so as to justify the goodness of the allies, the wrongness of Hitler's vision, and the tragedy of his attempt to secure a Jew-free Europe. In short, the only unifying principle ordering her thoughts and beliefs today is: what's good for Jews? What do I have to say to be forgiven by the Jewish media, and therefore the world?

Yes, Traudl, None of it was true. Rather than the oppression and downfall he described, there was a profound sense of liberation, of freedom.

Sure there was.

VICTOR WOLZEK