Framing Hitler

[Douglas Mercer]

Douglas Mercer
August 20 2023

Everyone knows that Adolf Hitler snubbed Jesse Owens at the Berlin Olympic Games. Except of course he didn’t. The story that he did is a tissue of lies. And everyone knows that Owens winning races shattered Hitler’s myth of Aryan superiority. Except of course it didn’t. The Germans did very well indeed at those games and, as an expert in race, Hitler knew that negros could run fast. Still, despite the documentable record everyone knows that Hitler snubbed Owens, and that Hitler was crestfallen by his victories. By such lies do Jews prosper.

Lying about Hitler has become more than a cottage industry, it’s become a whole industrial complex in itself. After all how do you take the greatest man who ever lived, an artist, writer, historian, political genius, visionary and seer; a man who solved all the ideological problems of his time and solved them for all time, how do you take this man and turn him into a monster? And a petty bourgeois (at best) and enduringly small minded and impotent and resentful monster at that? How do you take the apex of our race and distill it into pure evil? Why, you lie about him, you lie about him all time, and you never stop lying about him until the sheep masses “know” everything about him, or they think they do. Because for Jews lying, and above all lying about Hitler, is a lifeway in itself.

The litany of the lies about our Fuhrer are legion; if one were to try to enumerate them all they would be without number. The lies flow out of the collective Jewish backside as a sort of Jewish wish fulfillment; the cardinal themes are that he was degenerate, sick, talentless. The evil Hitler indeed is the most successful fictional character of all time, outstripping even the pure, innocent, and good Anne Frank. For the fact is that the evil Hitler has served the Jews monstrously well and it is the lie that keeps on giving. Made up out of whole cloth, with no empirical evidence, and passed along by toady or Court historians, sent to dishonest journalists, and passed along by thoughtless word of mouth, an entire figure as figment of the imagination has come in to being, and taken on a life of its own.

Over time the lies have been told about our Uncle are myriad and manifold, have been seared into the consciousness of the public, gone into the bloodstream of that most laughable of all categories: what everyone knows.

Among the fables conjured around the great man are: that he was a monorchid, that he liked to lay down on the floor of his office and have actresses beat him, when in a fury (think of nearly any cinematic depiction of him as wildly unhinged) Hitler would fall to the floor and gnaw on the rug, as a final farewell in the bunker Hitler related that he never loved the German people, that he was a drug addict (morphine, methamphetamine, cocaine and other opioids have all been claimed), that he was gay, that he was mad, that he committed incest, that he was an artistic amateur, that his prose was turgid and stilted, that his ideas were derivative and uninspired (and of course evil), that he had Parkinsons, that he had particularly malodorous breath and flatulence (the latter being chronic and nearly nonstop), that he liked to view films of his enemies being slowly strangled by piano wire while he chuckled softly. So outlandish and outsized are the lies that anything claimed about him that tends to cast aspersions on him should be taken not with a grain of salt but a whole shaker.

***

If Lee Miller wasn’t a Jew she was doing the Jews’ bidding. Her claim to fame was that she was photographed in Hitler’s bathtub on April 30, 1945 while her dirty work boots fouled the floor next to the tub. She was one of those court photographers whose very important job was to film the “horrors” of the Third Reich so the Jews would have at least a semblance of a pictorial record of those “foul deeds.” Being fame hungry she had Hitler’s Munich address in her pocket for years and, after rolling in the tub, she is said to have slept in Hitler’s bed.

It is said that her wartime photographs were a mixture of journalism and art, often manipulated to evoke emotion. Another way to put that was that what flowed from her lens was not cinema verite but puerile propaganda. After the war her editor at Vogue urged her to publish photographs from “the camps” to create a suitable basis for postwar fabrications.

But her piece de resistance was the number she did on the public regarding that apartment of Hitler’s in which she bathed and slept. Indeed it is this anecdote which is the locus classicus of all the lies about Hitler and shows transparently the nature and intent of those lies. It is a small but telling detail and, as such, dispositive. The apartment was on Prince Regent Street in Munich and was renovated and redecorated by Hitler’s favored architect, Gerdy Troost in 1935. Described as “having curvilinear wooden moldings as well as round arches over the doorways which gave the apartment an elegant and historical feel” and “starkly plain rectilinear forms characteristic of the interiors of Paul Troost’s party buildings on the Konigsplatz and the House of German Art” the apartment was the epitome of refinement.

Then Hitler and Gerdy Troost set about overhauling the already beautiful building (remember, we are told that Hitler was a very bad architect despite what every architect he worked with reported). The pair’s efforts entailed “the removal or reduction of walls which increased the impression of bright open interiors spaces full of air and light. The result as it is experienced today is strikingly modern and spare.”

Sounds pretty airy and light and clean and sleek and up to date and tasteful and modern, does it not? Well, the world’s public would never catch even the smallest glimpse of our Uncle’s fine sensibilities for when Lee Miller arrived in late April 1945 she commenced with her hatchet job and snow job and makeover meant to do nothing less than pull the wool over people’s eyes. You see Lee Miller had earlier witnessed the starving and the dead at Dachau Concentration Camp (she claims) and was in no mood to convey to the world that far from the know nothing rube and artistic dunderhead they had been led to believe he was, Adolf Hitler was a princely Renaissance man of impeccable taste with an acute and intense aesthetic sense. No, that would not do.

So what did she do? Well, these were not to be glossy photos for a high-end magazine spread. No, these were bullets in the Jew arsenal meant to convince a wide eyed and unsuspecting world that Adolf Hitler was the devil incarnate. That is she framed Hitler.

“The photos of Hitler’s apartment were taken at taken at night with the curtains drawn. Miller rearranged furniture and objects to heighten the sense of claustrophobic jumble even though she later described the apartment as quite spacious and elegantly, beautifully, and simply laid out.”

Presto-chango and abracadabra—now you see it but now you don’t. The resulting dark cramped pictures of the interiors of the apartment were published in the July 1945 issue of UK Vogue. So instead of an up to date and exquisitely refined and discerning home of Adolf Hitler the world got the picture of a dark, cramped, closeted, dank and fetid home, a requisite ogre’s lair for the Jews to conjure with. See people said, he was a dark man who lived in a dark place. Everyone knows it’s true. Because when it comes to Adolf Hitler the Jews are not concerned the least little bit with the truth, and not only do they print the legend—they create it.

[Douglas Mercer]

[Jim Mathias]

The Hollyweird caricatures are eye-rolling parodies and I suspect of Semitic origin. He was human, all too human, and the Jews would distort that.

Hitler about 1889-1890.png (296.34 KiB) Viewed 1448 times

[Douglas Mercer]

There's a big (Jewish) debate about the picture of the baby Hitler, about whether or not to publish it, the (Jewish) fear is as you say it will humanize him which is the last thing the Jews want.

"The book begins with Hitler’s baby pictures, which are on the cover. Rosenbaum raises the Problem of the Baby Pictures–the conundrum of Hitler’s humanity, his rosy-cheeked normalcy when he was young–and then quotes the film director Claude Lanzmann, who calls the baby pictures an obscenity.”

[Douglas Mercer]

[Douglas Mercer]

[Douglas Mercer]

[Douglas Mercer]