Saturday, 16 January 2016

The Hateful Eight





Game of Thrones creator George RR Martin is actually a die-hard Obama-voting liberal but, so far having managed to keep his politics out of his writing, has created a world which is deeply illiberal and anti egalitarian.

The same separation of politics and art can't be said for Quentin Tarantino who marches on the streets with ''Black Lives Matter'' calling White American cops ''killers'', and making movies which, if targeted toward any other racial group, would have him labeled a "hate criminal."

Tarantino's movies might be cleverly made and his scripts well written but there is no deeper context to the hatred of White people - it's neither ironic nor cleverly subversive which can only indicate he actually means it.






The Hateful Eight opens as it means to go on - the ubiquitous Samuel L. Jackson sits atop three dead White men he has gunned down, whose dead bodies he is dragging into town for bounty, when a stagecoach approaches carrying another bounty hunter, Kurt Russell, chained to Jennifer Jason Leigh. 


Jennifer Jason Leigh is a Jewish actress but here she plays such a grotesque mockery of a White, Southern woman she hardly comes across as human at all. When Jackson asks to climb aboard the stagecoach Leigh's character, Daisy, twists her retarded, semi-human face and calls him ''Nigger'', prompting Kurt Russell to pistol-whip her which results in blood streaming down her face.

After the characters wade their way through a thick goo of Tarantino dialogue, Jackson climbs aboard. Russell feeds Daisy as if she's a dog and elbows her in the face, Daisy spits on Jackson's letter of friendship from Abraham Lincoln and so Jackson punches her in face knocking her and Russell out of the stagecoach. Shortly afterwards, and back in the stagecoach, the trio are joined by another ''nigga hatin' redneck'' called Mannix.

Like Daisy, Mannix is a cartoonish mockery of a Confederate soldier but in stark contrast Jackson is cool, collected and articulate. Mannix challenges Jackson's character to confirm or deny a rumour in which Jackson burned alive White Confederate soldiers, Jackson replying ''I kill White crackers any way I can - I shoot them, I drown them, I stab them, I burn them''.


 And so begins The Hateful Eight.


Actual screenshot from The Hateful Eight

The rest of the movie is pretty much Reservoir Dogs transplanted into a shack called ''Minnie's Haberdashery''. The plot revolves around characters being trapped in this shack while Kurt Russell attempts to bring Daisy to town to be hanged. During this her gang is secretly waiting in the shack trying to spring her loose and nobody appears to be what they say. All of the characters are utterly loathsome but the film is really nothing more than a vehicle for Samuel L Jackson to play out this role of alpha negro in what might actually be the most anti-White mainstream movie ever made. 

In one scene Jackson approaches an elderly Confederate general with a bowl of stew and we are treated to a lengthy monologue on how Jackson tracked down his ''nigger-hating White boy'' son. We then have a flashback and see Jackson march the White man naked across a frozen mountain, Jackson laughing as he explains the man begged for a blanket and Jackson forced him to perform oral sex on him. Tarantino shows the audience this, he shows Jackson gleefully howling as the White man has his face buried in his groin and Jackson tells the old man he then killed him anyway. Taunting him further he reveals the last thing to ever leave his son's mouth was a negro penis. Aghast, the elderly general reaches for his gun but Jackson shoots him dead. That was the whole point.

Another White Nationalist blogger has reflected on this scene of the film and Tarantino's anti-White nihilism

The hipster audience cheered. What were they cheering? The killing of an old racist white man? The gruesome killing of his son? The triumph of black power?


So fanatically anti-White is The Hateful Eight that the plot begins to break down under the weight of it all. One example is how redneck "cracker" Mannix, introduced as the most ''racist'' of all the Whites, later teams up with Jackson and delights in killing the other Whites off for no other reason than the plot demands it.

A flashback depicts Minnie's Haberdashery as a diverse beacon of racial harmony. Minnie is a chubby, friendly, black woman and so is her help. They also employ a friendly blond woman and a lazy White man sits around, it's a picture of multicultural bliss. Yet when Daisy's gang come along they slaughter everyone with no consideration of race. Surely if all the Whites are "nigger hating crackers" they would spare the Whites or at least show some empathy? Tarantino wants it both ways, his hatred of White people so obsessive he leaves plot holes a mile wide. In The Hateful Eight Whites are at once stupid inbred hick racists and at the same time they're psychotics who murder regardless of race, showing no empathy towards anyone.

What this does is prove that Tarantino's priority was to give Jackson's character complete justification in his, frankly, genocidal treatment of Whites in the movie. The only reason the Whites in The Hateful Eight are relentlessly spitting ''nigger'' at Jackson is to garner the support of the audience, and Tarantino knows the predominantly White audience will cheer Jackson on. So too will blacks as they get to see their guy humiliating and torturing Whites.


In the course of The Hateful Eight's running time Daisy is pistol whipped, repeatedly punched, elbowed in the face, kicked in the face so hard her teeth are smashed out, shot twice and is splattered with her brother's blood as Jackson blows his head off. Then, finally, Mannix and Jackson laugh and mock her as they lynch her in the shack, Tarantino lingering on her bloodied face as she slowly chokes to death. Jackson guffaws in the background with his race traitor friend as the credits roll.

This is what you get when an ethnic group which despises you controls your media and entertainment.



Tarantino is like a Hollywood version of Miley Cyrus - both fancy themselves as rebels who are breaking down barriers when in fact they both serve the same masters, playing roles in the wider game of driving Western Civilization into the gutter. Quentin works for the Jewish Weinstein Brothers and he might be "outrageous" but his attacks upon Whites are only possible because Jews own Hollywood, and due to this the cinema-going public will never see an Inglourious Basterds where Russians seek bloody revenge upon the Jewish Bolsheviks who killed their families.

Quentin is not challenging the system, he is a part of it. Similarly Miley runs around with dildos and makes a whore of herself but is challenging nothing as this is culture being imposed on us, and they are mere servants to those who are doing the imposing. There is only one avenue open to people who want to become huge stars and that is to further the process of destruction of civilisation through being more anti-White, more sexually explicit, more violent, more anti-human, more removed all norms except the unnatural new norm, that of liberal nihilism. 

The tragedy of it all is it could be so different. If Europeans were free to create their own art and film what would it be like? We would be mentally free of political correctness and demographically free of ''hateful' racial aliens. Would Europeans, free to express themselves and use all the technological marvels available in today's film making, ever create a movie such as The Hateful Eight? Do any racial or ethnic groups who do have control over their media produce material wherein they depict themselves as trash to be slaughtered and tortured and disposed of by another race?

Counter Currents has explored this theme before, particularly in regards to Chinese cinema. Chinese people create movies for Chinese people and so are free to celebrate their own traditions and heroism, history and culture without post modern irony, without guilt or shame and without genocidal racial aliens humiliating them.

People Who Make Their Own Cinema Get This
We Get This
Chinese Cinema Celebrates Chinese Beauty
We Get This.

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