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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 has been dead for
58 years, he plays himself in the wildly successful 2002 videogame,
Medal of Honor Frontline, 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 a postmortem exclusive contract with A.H., as
he's known 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), Haled (federally entrapped),
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.
"Blind Spot,"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.
"Blind Spot" 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.
"Blind Spot" 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 Junge, and she talks. Here is some of what she talks
about:
Framing Hitler
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 judgment, 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. 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 Junge died of cancer in 2002 at the age of 81, she
wrote, "I'm starting to forgive myself."
Fraulein Junge's early general impressions of Hitler
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 stretched out and a booming voice with
the intense rolling Rs. He was polite, courteous, friendly, and well
mannered.
Life with Adolf: Some Anecdotes
Hitler The Animal Lover
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.
Hitler's Sense of Humor
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 should
implement a policy of hiring only ugly women with unattractive facial
disfigurements, like the Negroes with plates in their lips." HA! This guy's a problem solver!
Hitler's Sense of Political Purpose
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 failing, surrendering or
negotiating for peace were not options. Bolshevism had to be
stopped now or it would be unstoppable. "If the West destroys Germany," he said,
"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, and strip it of its ability to be an independent nation
and people." Compromise would not spare Germans, Hitler believed. It would ensure
their demise.
The De-Nazification of Fraulein Junge
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 Hitler's admirable surface to the genocidal monster
underneath with this telling bit:
For years after the war there was nothing, just silence... The
Nuremberg trials revealed some of the horrible things done...
None of us knew what was going on outside of our immediate place... Only
afterward did we know the extent of the criminality, that 6 million
Jews were
murdered, and that thousands of other religions and peoples were
killed... Then, for whatever reason, in the 1960s all this
information came out. So many books and movies, so many people who
suffered and survived came forward and spoke... all of his terrible
secrets were uncovered... I loved him like a father, but love quickly turns to
hate when the one you love disappoints you...
Nuremberg trials. Gassings. The
sacred "6 million." This explains everything.
Where there are Jews there is reality reversal. While
Junge's admiration for Hitler and National Socialism was 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." Did it ever. Jewish lies displaced
reality for Junge back then just as they continue to displace reality
for Whites throughout the west today.
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 teens 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:
After the war and his suicide, I had no idea what to
expect the world to be like. For so long we were all in our little circle,
and for so long I had heard him speak of what the world would be like if
National Socialism failed. And after it was all over I discovered the
world outside was not at all as he said. None of it was true. Rather than
the oppression and downfall he described, there was a profound sense of
liberation, of freedom. The Americans were kind and wonderful
democrats.
None of it was true. Really?
Bolsheviks did not mass-rape German women? The Allies did not trap Germans
in concentration camps and starve them to death? Dresden was not
firebombed? Jews did not institute Soviet-style re-education in German
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 -- no doubt she would have
explained how that's "different," how its horror pales in comparison to
Hitler's "crimes against humanity." The man she once admired she now calls
the "greatest criminal who ever lived."
Even if it is the case that Junge's
postwar experience was so singularly sheltered she never experienced any
of what was just described (i.e., if she spent the past 50 years in a
cabin on an isolated mountain top somewhere), notice the double-standard involved in what she accepts
as truth. Junge surrenders her personal experience for the narratives of Jews when
it comes to Hitler, but white-knuckles her personal experience in
lieu of the now broadly desseminated truth 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. As with the Jews who didn't crush
this film before it ever got off the ground, the only unifying principle ordering
Junge's thoughts and beliefs in her old age is: what is
good for Jews? What do I have to say to be forgiven by the Jewish media,
and therefore the world?
At the end of the interviews, nearing the end of her
life, Traudl Junge is claimed to have told Andre Heller, the film's
director, "I have finally let go of my story. Now I feel the world [read:
The miserable Jew] is letting go of me."
Yes, Traudl, None of it was true. Rather than the
oppression and downfall he described, there was a profound sense of
liberation, of freedom.
