Long before there was the Matrix, there were the following films which blew the lid off of the real evil in this world: Communism, Freemasonry, and of course the Jews. If you have not seen any of these, find some time to view them, it will be worth your time. They are just as relevant as they were 70-80 years ago. With the exception of the Triumph of the Will (a film of “positive” propaganda), all the films below clearly expose the evils of the three-headed hyrdra mentioned above. Most of course, have been banned on Youtube, but you still can see them and many others on Archive.org, and Bitchute.com.
Triumph of the Will (German: Triumph des Willens) is a propaganda film made by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congress in Nuremberg. The film contains excerpts from speeches given by various Nazi leaders at the Congress, including portions of speeches by Adolf Hitler, interspersed with footage of massed party members. Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles. The overriding theme of the film is the return of Germany as a great power, with Hitler as the True German Leader who will bring glory to the nation.
Triumph of the Will was released in 1935 and rapidly became one of the best-known examples of propaganda in film history. Riefenstahl’s techniques, such as moving cameras, the use of telephoto lenses to create a distorted perspective, aerial photography, and revolutionary approach to the use of music and cinematography, have earned Triumph recognition as one of the greatest films in history. Riefenstahl won several awards, not only in Germany but also in the United States, France, Sweden, and other countries. The film was popular in the Third Reich and elsewhere, and has continued to influence movies, documentaries, and commercials to this day.
To whom do the streets belong? Communists or National Socialists? It is 1929, and the fate of Germany lies in the streets of Berlin. Amidst violent demonstrations orchestrated by both extremist groups emerges a young SA hero named Hans Westmar in this heavily fictionalized biography of Horst Wessel, author of the Nazi anthem, “Die Fahne hoch” (“Raise the Banners High” or “The Horst Wessel Song”).
Hans Westmar, a student who dedicates his life to National Socialism in order to win over Berlin’s teeming proletariat to the patriotic Nazi cause, transforms his SA troop into the most successful unit in Berlin. Wessel had written the lyrics to the first verse of the march that became, after his death, the most beloved Nazi Party anthem. Since Horst Wessel’s real-life violence was not suited for commercial consumption — although he was not the street-brawling pimp that Communist propaganda made him — Hanns Heinz Ewers wrote a sanitized biography and screenplay for the picture. Giuseppe Becce wrote the music score with the assistance of Hitler’s friend, Ernst (“Putzi’) Hanfstaengl. Franz Wenzler directed the film with great assurance and panache — especially its crowd scenes — and Franz Weihmayr’s brilliant, roving cinematography, most effective in the elaborately staged street riots, marked the picture as a visually inspired work.
The film was produced under the title Horst Wessel, but when it was previewed Dr. Goebbels took umbrage, insisting that the SA belonged on the streets, not on motion-picture screens. He banned the picture, and it was heavily re-edited. Its hero’s name was changed to Hans Westmar, and the scene in which he writes his march was deleted. The film was released under the title Hans Westmar. The “Horst-Wessel-Lied” is sung at the end of the picture, during a massive, torchlit parade, with Westmar’s ghostly image superimposed over the stirring SA footage.
This is gifted film-making of the highest order. Hans Westmar as well as Hans Steinhoff’s Hitlerjunge Quex (also 1933) are accomplished works of cinematic art despite their propagandistic intent. Directed by Franz Wenzler. With Emil Lohkamp, Paul Wegener Wegener Directed by Franz Wenzler. With Emil Lohkamp, Paul Wegener.
“Occult Forces” (1943) ~ National Socialist Anti-Freemasonry Film (English Subtitles)
Following WW2, the film’s writer, Jean-Marie Rivière, was imprisoned. Its producer, Robert Muzard, and director, Paul Riche (the pseudonym of Jean Mamy), were EXECUTED (+1949) for their part in the production of this film. “Occult Forces” was the last film Riche directed before his unjust execution.
Tagline: Les mystères de la francomaçonnerie pour le premier fois dévoilés à l’écran. (The mysteries of Freemasonry revealed for the first time on screen
Plot: The film recounts the life of a young député who joins the Freemasons in order to relaunch his career. He thus learns of how the Freemasons are conspiring with the Jews and the Anglo-american nations to encourage France into a war against Germany.
The film was commissioned in 1942 by the Propaganda Abteilung, a delegation of Nazi Germany’s propaganda ministry within occupied France by the ex-Mason Mamy. It virulently denounces Freemasonry, parliamentarianism and Jews as part of Vichy’s drive against them and seeks to prove a Jewish-Masonic plot. On France’s “liberation” its writer Jean Marquès-Rivière, its producer Robert Muzard and its direction Jean Mamy were purged for collaboration with the enemy. On 25 November 1945, Muzard was condemned to 3 years in prison and Marquès-Rivière was condemned in his absence (he had gone into self-imposed exile) to death and degradation. Mamy had also been a journalist on L’Appel under Pierre Constantini (leader of the Ligue française d’épuration, d’entraide sociale et de collaboration européenne) and on the collaborationist journal Au pilori, and was thus condemned to death and executed at the fortress of Montrouge on 29 March 1949.
The film is also known as The Rothschilds’ Shares in Waterloo (International recut version, English title). It portrays the role of the Rothschild family in the Napoleonic wars. The Jewish Rothschilds are depicted in a negative manner, consistent with the anti-Semitic policy of Nazi Germany. The 1940 film has a similar title and a similar plot to a 1934 American film, The House of Rothschild, starring George Arliss and Boris Karloff, that presented the Rothschilds in a more positive light. It is one of three Nazi-era German films that provide an antisemitic retelling of an earlier film. The others, both released in 1940, bore titles similar to films released in 1934: The Eternal Jew was a documentary-format film with the same title as the 1934 film and Jud Süss was a drama based on a 1934 film adaptation of a 1925 novel.
As William I, Elector of Hesse refused to join the French supporting Confederation of the Rhine at its formation in 1806, he is threatened by Napoleon. In Frankfurt, he asks his agent Mayer Amschel Rothschild to convey bonds worth £600,000 he has received from Britain to subsidise his army to safety in England.
Rothschild however uses the money for his own ends, with the help of his sons, Nathan Rothschild in London and James Rothschild in Paris. They first use the money to finance Wellington‘s army in Spain‘s war against Napoleon, at advantageous terms of interest. In a notable coup, in 1815, Nathan spreads the rumour that Napoleon had won the Battle of Waterloo, causing London stock prices to collapse. He then bought a large quantity of equities at the bottom of the market, profiting handsomely as prices rose once the truth about the battle emerged. In a decade, the Rothschilds have accumulated a fortune of £11 million by using the Elector’s money.
Nathan returns the original capital to the Elector, plus only a small amount of interest, keeping the great bulk of the profits for the Rothschilds, and plans to formalise a Europe wide network of family led financial institutions.
The film ends with a declaration that, as the film is released, the last Rothschild has left continental Europe as a refugee and the next target is England’s plutocracy.
The following film review was written by an unknown author for the National Socialist Party monthly newsletter at the time of the film’s release:
The Eternal Jew is the first film that not only gives a full picture of Jewry, but provides a broad treatment of the life and effects of this parasitic race using genuine material taken from real life. It also shows why healthy peoples in every age have responded to the Jews with disgust and loathing, often enough expressing their feelings though deeds.
Just like rats, the Jews 2000 years ago moved from the Middle East to Egypt, at that time a flourishing land. Even then they had all the criminal traits they display today, even then they were the enemies of hard-working, creative peoples. In large hordes they migrated from there to the “Promised Land,” flooded the entire Mediterranean region, broke into Spain, France, and Southern Germany, then followed the German colonists as they moved into the countries of the East. Along they way they remained eternal parasites, haggling and cheating. Poland above all became the enormous reservoir from which Jewry sent its agents to every leading nation of Europe and the world.
The self-portrait Jewry offered the world was disgusting from the beginning. All that is overshadowed by the powerful examples in this new and most valuable film, The Eternal Jew. This film with its persuasive power must be shown everywhere where anti-Semitism is still questioned. No one will fail to shudder at the sneaking servility and dirty bartering of the Jews when they start out, at the perfidy, insidiousness and vulgarity of their methods, at the brutality and all-devouring hatred they exhibit when they reach their goal and control finance.
The most revolting scenes show Jewish slaughtering methods. These customs, which cast a particularly vivid spotlight on the so-called Jewish religion, are so terrible that it is hard to watch the film as the grinning Jewish butchers carry out their work. It is illuminating to see how stubbornly Jewry holds to its method of slaughter and with which casuistry it defends it against the horror of the civilized world. Rarely will people feel more horror than which watching the desperate and horrible death struggle of the slaughtered animals. Long before the seizure of power, the NSDAP fought against Jewish slaughter. National Socialist representatives in parliament repeatedly introduced legislation to abolish this form of animal torture through a ban on Jewish slaughter. Such proposals were always rejected, since the entire Jewish and Jewish-influenced press ran long articles against them and the so-called German parties refused to support National Socialism in its battle against this evil.
Not only in this regard, but in other areas too we are reminded with a shudder of what once was reality in Germany: the power of the Jews in the economy, finance, culture, theater, film, publishing, press, radio, education and politics. All these Jewish leaders of the Weimar era had their home or their origin in the filthy ghettos of the East.
One has a deep sense of salvation after seeing this film. We have broken their power over us. We are the initiators of the fight against world Jewry, which now directs its hate, its brutal greed and destructive will toward us. We must win this battle for ourselves, for Europe, for the world. This film will be a valuable tool in that struggle.
Here is an updated version of “The Ewige Jude” by the Fascifist on Bitchute: https://www.bitchute.com/channel/thefascifist/
A classic “variation on a theme” by INCOGMAN. He does an excellent job of showing how the Jews are doing the same thing to America as they did to Germany.
An excellent commentary on the Eternal Jew. From the author: This video was banned from youtube. I discuss various ancient lies based on information and thoughts from my Boer Nazi Pal who was a lecturer in scientific method and who has a deep interest in the mythology of the Middle East. After my discussion we view the NAZI documentary called The Eternal Jew which was made during WW2. It is as valid and true today as ever. They try to dismiss it by calling it a “movie” but its not a movie, its a proper, well-researched DOCUMENTARY from NAZI Germany.