Douglas Mercer
April 25 2023
My strong assumption is that Quentin Tarantino is a crazed leftist lunatic. He's married to a Jew and his big movies have been over the top anti-White. There was the anti-National Socialist Inglorious Basterds and then the obvious and simple minded pro-black Django Unchained. But even here something beneath seems not to be able to help itself. Surely were Hitler, Heydrich, Himmler, Goebbels and Goring to come back they would see in Hans Landa their perfect avatar: smooth, debonair, dashing, dapper, suave, cold, calculating, cool, cunning, cruel, vicious, intelligent, witty, charming, fluent in several languages, and a remorseless killer. That is why he had to make him quake and quail at the end. And there is a reason why Calvin J. Candie has become the White Nationalist icon of hundreds of memes. He is handsome, unrepentant, unreconstructed, and confident and well spoken. From Tarantino's viewpoint he most certainly gives the devil his due.
Once Upon A Time In Hollywood is also a revisionist revenge movie but here the bad guys (though White) are not in the White Man Evil category: hippies. In fact this group is notoriously anti-fascist and anti-racist, and it is they who get the colossal comeuppance. In fact this movie is a White Archetype and White folk tale, and a White fairly tale for our times. In this movie the most reviled of all people, old White guys who are cowboys, come to the rescue.
Let's examine what the movie says according to itself.
There are three groups in the film: villains, bystanders, heroes.
The Villains
The villains are the hippies. Fanatically crazed to kill and overturn the existing order they are the enemy of White America. The Sadie character says that all sitcoms in the 1950 were fascist, thus casting the ultimate aspersion on the very last White American society. She said the characters from those all White shows taught them to kill and now she wants to kill the people who made them. The hippies usurp the western rural cowboy home of an old White blind man and they live off of him. They are unclean, sexually loose, and little better than rabble who want to kill rich (ie, White) people. When they get to the home to kill they say they are the devil and are doing the devil's business. Indeed they are.
The Bysanders
The bystanders are the celebrities, the party people, Fitzgerald's meretricious high livers, the careless and irresponsible people. Everything is glitz and surface and appearance with them. There's a Jew who dabbles in satanism and violence and wrote a famous anti-White move (the one about Satan), an effete hairdresser, one ne'er-do-well Eruotrash, a rich and aimless coffee heiress, and a bimbo actress who sells her sex for fame and fortune. These are jets setters and in the scheme of things could be considered globalists and certainly rootless internationalists detached from White America, decadent to the core. There is also another Jew floating in this miasmic world played by Al Pacino who is very punctilious that his name is Schwarz not Schwartz. And it's safe to say these parasites are woefully unprepared when evil comes calling as it always will in the end.
The Heroes
In the iconography of the move the heroes are overdetermined as not only White, but all-American, old-school gritty White; they are that most White of things: cowboys. The two heroes ruled the roost when White America was still most itself in the 1950s and they projected the image of a pure Whiteness to America via television westerns. But as the 1960s progressed their brand of White masculinity went decidedly out of fashion and the fell on hard times. One is an actor who when asked if he wants to drop acid says his beer doesn't need a buddy; and every time he sees hippies he says as if on cue: "godamned fucking hippies." The other is a stuntman and a daredevil and an aficionado of violence. He is a "war hero" from World War 2, and he humiliates the Asian Bruce Lee. When the actor and the stuntman are waiting for the valet to get their car and the actor is distraught that he may be a has been, the stuntman bucks him up by saying the racist phrase: don't cry in front of the Mexicans. In other words it's important for the White man not to let his guard down or show any vulnerability in front of coloreds. They are hyper masculine, they are throwbacks and in terms of the year 1969 already anachronisms, thus perfect symbols for White Ameica at the time.
And in the denouement when the villains make their appearance the bystanders are totally unprepared. Had the hippies gone to their house they would have been sitting ducks and it would have been a slaughter. But the hippies have the ill luck to show up at the home of the heroes. Reviled as fascists, seen as over the hill, totally old school, and just plain old, and out of fashion, representatives of a Whiteness which is seen as past its prime, they have one cardinal advantage. They are totally hyper violent and they are loaded for bear, they are armed to teeth, fearless, and best of all they are practiced and remorseless killers. Along with their trusty dog (the White man's best friend) they decimate the hippies, pulverizing their faces to bloody pulps, and in the end tossing a flamethrower at one of them and leaving her a charred and floating corpse. This is how White folk tales always end. Counted down and counted out but when the chips are down they are the ones you most want around; for they are the only ones with the guts and the glory to be berserker and go for broke; and come to the rescue and save the day.
