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There cannot be a more perfect example of mass gaslighting than the 1998 Coen brothers’ film The Big Lebowski. By inverting sloth, fecklessness, penury, and alcoholism into admirable qualities—essentially making it cool to be a loser—this film offers up the Jewish ideal for a gentile in the character of the Dude. He’s laid back, utterly harmless and tolerant, and any aggression he may abide (such as that of his corpulent friend Walter with his buzzcut, tinted glasses, and fishing vest) will be militantly pro-Jewish. Could there possibly be a white person less threatening to diaspora Jews than this? And since the film was so well made, millions of young Americans took the bait and played along, transmogrifying it from a cult hit into a cultural phenomenon. The Dude may seem like a loser, and his life may seem petty, squalid, and pointless, but with Coen Bros. movie magic, the audience is gaslit into believing the opposite. No, no, the Dude is not a loser, he’s a role model. And his life is pretty awesome if you think about it. He’s got style, man. He doesn’t care what people say about him. He doesn’t think about tomorrow. He takes it easy. He doesn’t hurt anybody. Live and let live, you know?
I’m sure that gaslighting American whites into celebrating maladaptive behavior was not part of the Coen brother’s conscious plan. I say this because the film coheres well as art, in and of itself. It is Seinfeldesque in its bizarre banalities, quirky characters, and jarring scene changes. Its dream sequences are memorably surreal, its pacing spot on, its wild-west narration ironically quaint and superfluous, its lines eminently quotable. I especially admire the soundtrack, which is exquisite, not only in its selection across a wide range of genres but in how specific songs become associated with specific characters throughout the film. It even includes a composition by Moondog.
The Big Lebowski is, simply put, a film of inspired vision. It also faithfully follows the Hollywood film noir convention of an outsider being drawn deeper and deeper into an unbelievable web of intrigue where nothing is as it seems. See Chinatown or The Long Goodbye for relatively recent examples, or The Big Sleep if you’re in the mood for something classic. This, and the performances are all superb. Since little in The Big Lebowski comes across as deliberate propaganda, I think Joel and Ethan Coen simply wanted to make a cool movie about a cool dude. In the eyes of millions, this is exactly what they did. And that’s too bad, because the devil could not have made a better film than The Big Lebowski.
We start off following a tumbleweed as it rolls across a bushy desert and then into the streets of Los Angeles. Sam Elliot’s cowboy narration over folksy Western harmonies tells us he has a mighty fine yarn to spin, but as the middle-aged Dude (played seamlessly by Jeff Bridges) slouches through a supermarket in a bathrobe, sunglasses, and sandals, sniffing cartons of Half & Half, we realize this isn’t so. The only concrete thing Elliot—known as the Stranger—can tell us about the Dude is that he rejected his given name (Jeff Lebowski), he’s lazy, and that he fits in with his time and place. “Sometimes there’s a man,” the Stranger repeats obliviously, apropos, apparently, of nothing.
The conflict begins when a pair of thugs ambush the Dude in his apartment, jam his face into the toilet, and demand money. We soon learn that it’s a case of mistaken identity. Bunny, the wife of another Jeff Lebowski (who happens to be a paraplegic millionaire), owes money to a shady character named Jackie Treehorn. The thugs realize their mistake and leave, but not without peeing on the Dude’s rug. This rug is the story’s prime mover, its oddball McGuffin. It apparently “tied the room together,” yet we never get a good look at it or the room. Because of the rug’s alleged value, Walter persuades the Dude to approach the other Lebowski and demand compensation for his rug. (It seems neither character has heard of the multitude of products which can clean pee stains off of rugs—as most pet owners already know.)
And here begins the plot proper, which involves an unlikely confluence of kidnappings, ransoms, embezzlements, porn videos, severed digits, stolen cars, German nihilists, Italian comedians, decadent artists, and lots of bowling amid a never ending stream of profanity. Things just get weirder and weirder as the Dude, egged on by the psychopathic Walter, learns more and more about the truth. And because the ensuing entertainment is so original and so inspired—and the soundtrack so expertly compiled—The Big Lebowski coaxes us into a hazy pleasure realm of the absurd.
The Big Lebowski’s primary sin, however, is to never make the Dude the butt of a joke. We are never meant to laugh at him, as sloppy, flabby, inarticulate, and hapless as he is. Instead, however, we are encouraged to laugh at everyone he encounters. We laugh at Walter (splendidly played by John Goodman) as he attempts and invariably fails to control his ever bubbling rage. We can also laugh at his anal-retentive philo-Semitism. We can laugh their know-nothing friend Donnie (a simple role played by the highly overqualified Steve Buscemi) as he hopelessly tries to follow their bowling-alley discussions. We can laugh at John Turturro’s skin-tight lavender jump suit and voluptuous Puerto Rican accent. We can laugh at the Dude’s landlord because he can barely fit into his sweat clothes and does performance art and is too timid to press the Dude for his rent despite being 10 days late. We can laugh at Jeff Lebowski’s callous can-do attitude, his assistant’s smarmy obsequiousness, his daughter avant-garde pretensions, her giggling assistant’s pencil-thin mustache, his trophy wife’s nymphomania, as well as her flamingly gay German friends (formerly of the fictitious 1970s krautrock band Autobahn). Compared to this eclectic clown show, the Dude actually comes across as normal. Thus, we are never really tempted to laugh at him. With him, maybe. But not at him. I mean, he smokes grass and listens to Creedence. That’s not funny, man. That’s cool.
This implies quite strongly that the Dude is perfectly fine the way he is. The Coen brothers then take it step forward by giving him a righteous past and having him spout politically correct opinions. When Lebowski’s assistant (embodied by a painfully grinning Phillip Seymour Hoffman) shows the Dude a photograph of his employer with numerous black children, he identifies them as Lebowski’s children. They are really the beneficiaries of Lebowski’s charity, but the Dude assumes that they are his biological children and concludes that “racially [Lebowski] is pretty cool.” He then reveals that in college he had been part of campus protests, smoked a lot of pot, and occupied administrative buildings. Later in the film he admits to Lebowski’s daughter Maude (played by a serenely cold Julianne Moore) that he was one of the Seattle Seven and had been a signatory of the Port Huron Statement. The original Port Huron Statement, the Dude points out, “not the compromised second draft.”
All of this gives the Dude impeccable leftist credentials and puts him beyond ridicule, regardless of how much he deserves it. It also insulates The Big Lebowski from devolving into farce. Things have gotten just a little too real for that. For point of comparison, imagine not laughing at say, Nigel Tufnel from This is Spinal Tap (1984) or Tugg Speedman from Tropic Thunder (2008), two other highly successful comedies directed by Jews, but ones that actually show respect for their gentile subjects. We laugh at these characters for their obvious vanities and foibles, but as their stories unfold, they overcome their limitations to work with others in positive, creative endeavors. These characters are ridiculous, sure. But they have room for redemption, and eventually strive in that direction. Not so with the Dude. The Dude has no need for redemption because he is already perfect. He’s the Greek god of slackers, the joint-smoking avatar of the Buddha. How can you possibly improve upon that?
And so we drill directly to heart of gaslighting that is The Big Lebowski. In reality, the Dude would be a pathetic waste of life. He’s middle aged, out of shape, unemployed, directionless, financially irresponsible, constantly drinking and smoking pot, and making stupid decisions. And the single productive thing he does with his time (i.e., bowling), we don’t even see him do. Aside from one moment in a dream sequence, the Dude never once rolls a bowling ball. All he does in the bowling alley is sit on his ass and make vacuous conversation. So we don’t even know if he was ever good at anything. Such a person is plainly a loser (something the Dude himself does not deny after pulling his sunglasses out of the toilet and putting them on). Having a son or daughter like this would be heartbreaking for any parent. This is the truth. Despite this however, the Coen brothers use all their talents to hold up these bad qualities as good like a poisoned apple and ask the audience, “Don’t you want to be like the Dude?”
And we’re supposed to accept that it is a mere coincidence that the filmmakers in this case are Jews? From the Jewish diaspora perspective, a gentile like the Dude is the complete opposite of the Frankfurt School’s “authoritarian personality.” He has no religion, no ounce of patriotism, no family to speak of. He has renounced his past, and has no children and so he has no stake in the future. That, and he is a former socialist. Such a person would never turn on Jews by reverting to fascism, conservatism, or any other right-leaning mode of thought—to say nothing of race realism. Any such system would rightfully reject human detritus like the Dude. But not the Frankfurt School. Theodor Adorno and Max Horkheimer would certainly have abided the Dude—as I am sure the Dude would have abided them. Again, I don’t claim the Coen brothers deliberately tried to subvert Western civilization with The Big Lebowski. Rather, I speculate that they had internalized the Frankfurt School’s sociological and psychological theories of anti-Semitism to the point that for white people “cool” meant anything that can’t possibly be seen as “authoritarian.”
And if gentiles are tempted to shift towards authoritarianism anyway, well, then there’s Walter to emulate—an unhinged, gun-toting jarhead who’d been in ‘Nam and is willing to execute ultra-violence upon the enemies of Jews. The Coens give us an absurd example of this in the film’s climax when Bunny’s German nihilist friends burn the Dude’s car and attack him in a berserker rage, all while shrieking “I fuck you in the ass!” For a stereotype to be funny, it has to be based at least somewhat in truth. Here, we don’t even have that. Nazis were never like this. And neither were the Kraftwerk performers on which the Coens based their German villains. All we have is a figment of the their feverish Nazi obsession, so common among left-wing Jews today. This Walter is merely a neocon’s attack dog, chomping at the bit for violence and spouting jingoistic tidbits of Jewish history.
And if you’re a gentile and neither of these characters suits your fancy, then you can be like Donnie: meek, empty-headed, and easily distracted by middlebrow activities like bowling.
It can be argued that I am taking The Big Lebowski more seriously than it is meant to be. But because it was so well made that it actually spawned a wide-reaching cultural movement, I must take it seriously. (Believe me, I don’t want to. I disliked the film when it came out, and I dislike it even more today.) I have the 10th anniversary DVD, and in the bonus material interviews Bridges claims that among Buddhists, the Dude is considered to be a Zen master. Ironically or not, this signifies a kind of reverence where there should be no reverence. Buscemi states flatly that “everybody wants to be the Dude.” He explains further, “We just love him so much, and what a wonderful way to go through life.” The actors further explain how The Big Lebowski has become a sort of Star Trek for slackers, spawning an obsessive following that even they don’t understand. There’s also a yearly festival. These fans call themselves “achievers,” and are never shy about flapping their gums at the actors about their favorite movie. As of 2008, Buscemi believed that more people had seen this film than any other he’d been in.
Turturo is much closer to the truth than he realizes when he states:
College kids are not going to classes because of The Big Lebowski. And I blame this all on Joel and Ethan. And that’s why our society is in crisis, because of The Big Lebowski. The Dude, what kind of example is he?
He’s kidding, of course. But does he lie?
And Lebowski Fest is real. Starting in 2002 in Louisville, Kentucky with 150 participants, it went on for 16 years in 14 cities. Fans would gather at bowling alleys for film showings, alcohol consumption, socializing, and of course bowling. People dressed up, not only as characters from the film, but as props or imagery or even the minutest of miscellanea. The Star Trek comparison is apt. In the DVD’s documentary of a Lebowski Fest in Las Vegas, many achievers are recorded gushing over the movie. Three stood out for me. One was a baseball player, one was a bearded man in a white robe holding a pair of tablets, and one was in camouflage gear with his face painted brown. Who are they? Well, the first two are the embodiment of Walter’s speech in which he extols 3,000 years of Jewish achievement from Moses to Sandy Koufax. And the third is a reference to Walter’s buddy in ‘Nam who died face first in the mud.
There’s even a religion based on the Dude. It’s called Dudeism. Or the Church of the Latter-Day Dude, if you’re not all that into the brevity thing, to paraphrase the Dude himself. According to Wiki:
Dudeism’s stated primary objective is to promote a modern form of Chinese Taoism, outlined in Tao Te Ching by Laozi (6th century BCE), blended with concepts from the Ancient Greek philosopher Epicurus (341-270 BCE), and presented in a style as personified by the character of Jeffrey “The Dude” Lebowski in the film.
Make of this what you will.
Earlier I wrote that little in The Big Lebowski comes across as deliberate propaganda. That’s because one part of the film is deliberate propaganda. In the end, the Stranger addresses the audience to sum up the film. And after the Dude says his famous line, “The Dude abides,” the Stranger says, “I take comfort in that. It’s good knowing that he’s out there, the Dude, takin’ ‘er easy for all of us sinners.”
So there you have it—the Coen brothers telling you directly to like the Dude, despite all that’s so obviously unlikeable about him. And that’s gaslighting, something that absolutely nobody should abide.
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The millionaire Lebowski actually calls out the Dude as a slacker and tells him to get a job, but the criticism is blunted by Maud Lebowski revealing that he is basically a phony despite spouting off about “achievement”.
I saw the Dude and Walter as left-over remnants of the Vietnam War – the Dude would have protested against it, Walter would have served there, assuming he is not a complete fantasist. That they would be friends seemed unlikely to me.
An enjoyable, well written piece that includes much information about a movie that I’ve “only” seen twice. Thanks.
My only quibble is with the whole “gaslighting” claim.
To me, it’s all about taking personal responsibility for what one chooses to believe, as far as I can see.
Nobody is forced/ coerced into believing/accepting the Lebowski character as good and honorable, however defined.
I for one, never did. I just took the whole movie as being an enjoyable, very well made, very funny movie.
Regards, onebornfree
I agree that the Coen Brothers didn’t have a “conscious plan” to subvert and gaslight the goyim. But why not? Because that’s just the thing about the jews: they don’t need a “conscious plan” to subvert the goyim — they do it naturally! They’re natural-born subverters, gaslighters, destroyers. When Freud was on the boat coming to America, this is what he told Jung about his new concoction, psychoanalysis: “the Americans don’t know, but we’re bringing them the plague”.
Well, maybe that was not a good example. Because, granted, unlike the Coens, Freud was consciously subverting, undermining, perverting. But does it really matter whether it’s conscious or not? The results are the same: the jew destruction of goy societies. That’s why there doesn’t need to be a “conspiracy” such as The Protocols for the jews to achieve the same results as they have over so much time: no matter who the jew is — and no matter in which country in which he is ensconced or in which period of history he lives — the jew will always do the same damn subversive thing: bring perversion and destruction to the goys. The jew is indeed the scum of the earth (Schopenhauer) and the enemy of the human race (Gibbons).
So thanks for bringing to our attention that the Big Lebowski is just another jew gaslighting operation, whether conscious or not: there are so many of these jew psyops, that many slip by without raising our suspicions, even if we’re jew-awake. And how many other movies and songs and other cultural artifacts are just jew perversion massively marketed to gaslight the goy? Countless! Some are more evident, such as Caddyshack or Blazing Saddles or so many others. Over ten years ago I read something about Billy Joel along the same lines and couldn’t find it again anywhere on the internet, even wayback machine. Luckily I emailed it to myself and I’ll put the whole thing below the more tab — it’s also worth a read. But I don’t even know who wrote it….
Billy & Alexa Ray Joel
2,018 words
Andy Warhol, “Before and After 4,” 1962
I had a somewhat antagonistic discussion with my son when he was home from college this Christmas. I was trying to tell him about the need to be aware of Jewish influence on his life. We were arguing, not so much about the Jews per se, as about whether my ideas had done me any good. We were debating about whether anyone is actually influenced by song lyrics, when Billy Joel’s “Only the Good Die Young” came on the radio. I quieted down. It couldn’t have been a better example of what I wanted to convey to him.
When it was over, I turned to him and asked what he thought the song was about.
“I don’t know.”
“Come on,” I said. “Virginia? You Catholic girls start much too late? I might as well be the one?”
Then it hit me. I had liked this song when I was young, but eventually came to dislike Billy Joel as being shallow even for pop music. Then, for the last fifteen years, I have grown increasingly skeptical about Jews, leading to the life-encompassing conversion well-known to many White Nationalists. But it had never occurred to me until then that, given the message of the song, Billy Joel must be a Jew.
I turned to my son. “Remember how I told you a theory is true exactly to the extent that you are able to make accurate predictions from it?”
“I guess so.”
“Yeah, in the end, that’s what science is built on. Well, I’ve just realized something. I have no idea why it never hit me before, except that I don’t hear this song that much, Billy Joel never did matter to me much, and he matters a whole let less to me the older I get. Still, after more than thirty years of occasionally hearing this song and the little story contained in its lyrics, I can make a non-obvious prediction, based 100% on the fact that this song is the soft equivalent of a Jewish porn merchant depicting an actress with a golden cross hanging from her neck: Billy Joel is a Jew!”
I got on Wikipedia, and there was the evidence. My son was duly impressed; not greatly, to be sure, but not negligibly either: there are now three generations of scientists in our family, and my son too knows that even such minor predictions as this one are not so obvious as they seem to the credulous, after they are proved.
I explained to him that this ought to matter all the more to him, because his young cousins on his mother’s side are part of the Catholic renaissance that swept east-central Europe after the fall of Communism, and that this is the very region that has also been such a gold mine for the pornography industry. I explained that Prague had become a major new center for that Jew-dominated industry, and that this overflows in important ways even into the political world. I explained, for example, that it is otherwise hard to understand why the Czechs, with their tiny native Jewish population and low imposed burden of World War guilt, were the only country in all Europe, and one of only four significant countries in the whole world, to back Israel in the November 2012 vote in the United Nations on a resolution strengthening the status of Palestine (mainly, the other two were Canada and the USA, both bastions of Jewish power; they were joined by Panama, plus a handful of other, very minor, puppet states).
Meanwhile, I was becoming interested in some of the details of Joel’s biography. I’m snobbish, and my biography surfing on the internet generally runs much more to Aryans like Evelyn Waugh, Aldous Huxley, Diana Mosley, and a thousand others, and Jews like Marcel Proust and even Peter Sellers, than it does to the likes of Billy Joel: still, I was intrigued.
There was his depression and alcoholism. There was his suicide gesture, drinking furniture polish, at age 21. There was his marriage to Aryan supermodel Christie Brinkley, and subsequent divorce.
I’ll try to avoid undue speculation about Billy Joel’s suicide gesture, but I should note a few items. One is that the artistic role of musician/poet is the traditional best alternative to the physically dangerous and demanding role of athlete/warrior as the prime way to attract beautiful women, and for reasons that could profitably be explored elsewhere, it appears to work as well or better. To his slight credit, Billy Joel may well be a smidgeon too empathetic to play this role for all it’s worth. For instance, his suicide gesture came at a time when his rock duo with Jon Small, Attila, was breaking up over Joel’s affair with Small’s wife Elizabeth, but Joel went on to marry Elizabeth three years later.
Therefore, it seems Joel was neither an ultimate loser, the sort of victim who disappears from the stage of life with little trace, nor a merciless winner, the kind who would get the girl, then discard her. It seems more likely that he was like most of us, someone who muddles through. For it is certain that, rather than do the cruelly logical thing and abandon a man with so little self-worth that he contemplates suicide, and so little resolve that it leads to a mere gesture rather than a serious attempt, Elizabeth Small married him instead. And it’s just as certain she divorced him nine years later, without feeling he was worth producing a child for.
One other thing: we should remember that this was the ’70s after all, a destructive era when everyone with eyes could see that the absurd promises of the sixties would never pan out, but the various thick-skinned or culturally acceptable defenses against having to admit this outright, those that would appear in the ’80s, still lay in the future.
Billy Joel did eventually have one child, however. Alexa Ray Joel may well be the tribute to the intensity and fertility a woman in love can feel on her wedding night, for she was born to Christie Brinkley almost nine months to the day from her marriage to Billy Joel. They too divorced after nine years.
My initial read on his serial marriages was simply that he had succeeded in what all alpha males and alpha wannabes desire, which is to wed a series of attractive women. Moreover, like those classic Jewish men who are both wannabe alphas and wannabe Aryans, exactly like Peter Sellers for instance, in Brinkley he’d aimed for the highest that Aryan beauty can offer, and “got” it. There was nothing I could condemn in that; if many of our most beautiful women are falling for Jews, then it is up to us to improve ourselves and white society, not to envy Jews.
But his depression, suicide gesture, and alcoholism nagged me. Clearly, he was almost exactly like Peter Sellers had been; Sellers who wanted in Sophia Loren what he couldn’t have and didn’t deserve, and attained in Britt Ekland, what he didn’t deserve and couldn’t keep. Clearly Billy Joel had big issues with self-destruction and thus, self-loathing, and just as clearly, that continued; I note that he was treated for alcoholism at a Betty Ford Center in 2005. But Joel seemed to have human flaws, and flaws are potentially redeeming if they arouse a thirst to recognize, understand and ameliorate them (oh, so hard).
Well, two months ago, all that was enough to satisfy my temporary interest in Billy Joel, an interest sparked by the sudden realization that the author of “Only the Good Die Young” could only be a Jew.
Then yesterday another bit of pop culture snuck in under the faux-Kentucky fence of my snobbery. When Yahoo!, my main email host, went downscale and tabloid a few years ago in their search for a market niche, I grumbled. But now I acknowledge the usefulness of occasional exposure to trashiness. For instance, there on the Yahoo page for February 15th was a link to a piece purporting that Alexa Joel recently had cosmetic surgery involving breasts and nose. Perhaps unsurprisingly, the article was all about “did she or didn’t she,” and Brinkley’s defense of her daughter’s “natural beauty,” but the before and after photos made it quite clear that at some point, Alexa’s schnozz has been cut from a distinctly Jewish profile to a distinctly Aryan one, though it may well date back to her undebated 2010 rhinoplasty. (I have little to write about her breasts, except to note that for a long time, à la Zappa’s “brazen little Jewish princess” it was the Semite and not the willowy Aryan beauty, that was better endowed in that regard, and the fact that our age encourages an Alexa to “have it all” helps confirm to me that, like her father and Peter Sellers, she will not truly possess any of it.)
There has long been a lot of hand-wringing over diversity and the “white imperative” in modeling (the tendency for non-white models to look, at most, like light cocoa or pale yellow whites) but such considerations seldom extend publicly to Jews. Presumably, if too much attention was paid to the fact that even “successful whites” (here, I mean Jews) want to look Aryan, then more people might realize explicitly what is so strongly implied by all this flattering imitation: whites really are held to be more beautiful, and the more like the Aryan ideal a woman is, the more beautiful.
Well, there it is. Much of what we are is in our DNA, and neither surgery, nor surging to sponsored commercial success through the composition of anti-Catholic songs, nor a supermodel wife, nor the Betty Ford Center, can change that. With every step they take in life, Billy Joel confirms that he is a Jew dissatisfied in his own skin, and Christie Brinkley that she is not fulfilled as a woman and mother. If she had really wanted daughters who could be Aryan beauties or sons capable of becoming Aryan warriors, then she should have had the womanly instinct to seek out a suitable father for them and not a Jewish wannabe like Billy Joel; at the very least the way Gisele Bündchen chose a man from a more Aryan sector of the entertainment industry, quarterback Tom Brady. Better yet would be a man capable of transcending that shallowness altogether, a man like Pat Tillman, immensely tragic though he was. Ironically, such men are much more likely to hale from the small-town America where Brinkley herself grew up than from the showbiz of Jewish New York.
But rather than accept nature and lie in the bed she made, Brinkley is basically acting like an upscale version of those moms, obese to a woman, who live vicariously through their daughters at kiddie pageants: ‘if I don’t fit public perception of the beautiful, then command the public to change, through the vehicle of my adorable daughter.’ In this, Brinkley ends up in a similar position to Mao-bag, Friedanesque feminism: ‘broaden what’s beautiful to include everyone’ (that or do away with the ‘concept’ of beauty altogether, so long as we’re all equal).
It’s always sad to see this dissatisfaction, this failure to know ourselves, to understand what we are and to live naturally in that knowledge, passing on to a younger, naïve generation, to Alexa Ray Joel, for example. But in our current age of scalpels, pills and therapists, one should hardly expect a bettering trend over time. In fact, one can really only expect worsening. And a major reason is that the scalpel, the prescription and the talk represent, to a large extent, the unnatural order of the Jew. They are not a race selectively adapted to a piece of territory, to a part of nature and the communion in natural beauty we have thus derived; rather, they are adapted to taking advantage of the empathy of another race, adapted to a piece of psychological territory. We have the misfortune to be that other race.
Not a bad movie, but not one I would watch more than once. Rates a 6/10 in my book. Certainly not in the league of Quentin Tarantino anti White, nigra loving, kikesucking horseshit films. IF Tarantino is actually “white” he has to biggest self hating white traitor trash sellout in Hollywood and that is saying a lot. Taratino’s films are stereotypically Jew like, over the top violence, sexual perversion, glorification of drug and alcohol abuse, anti White hatred on steroids, etc. The guy is even uglier on the inside than he is on the outside which is common with MOST white traitor trash but not all.
I laughed when I watched this movie. I am not sure if I laughed at places the movie makers intended. I remember at the end saying “What was that movie about?”
Keeping in mind that what you are watching or reading is a Jewish interpretation of goyim life should not necessarily interfere with suspension of disbelief or enjoyment of a story. Just don’t see The Dude as a role model. There are plenty of good stories featuring antiheroes, and he is an antihero because he clearly has feet of clay. I got the idea from watching that we laugh at him as well as with him.
Walter to me is Eric Cartman from South Park as an adult, the kind of asshole who would adopt Judaism mainly to troll and inconvenience other people, and to pick fights.
Kraftwerk does sound like the Autobahn “nazis” in the film though:
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The strain of the creative process must have turned them into nihilists!
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tarantino married himself a jewish princess and got entry into the big club by making a bunch of shitty groid loving hate on whitey and nazis movies. nothing says hollywood douchenozzle like the name quentin tarantino.
Most people took this movie as a rip job on California, a major trend off and on in those years.
The state went from being El Dorado to a joke. While the movie didn’t do well on release, it got its rep from the satire factor of people in other states/countries.
You’re making too much of a bogeyman out of Jews here. Or as one of them might have said, “Sometimes a Dude is just a Dude.”
Excellent analysis!
The Coens’ movie is an extended hateful mocking of gentiles/goyim.
Gaslighting might be an apt description of what they’re doing, but hateful mockery may be better.
Now you’ve done this Coen movie, follow the theme and do “O Brother, Where Art Thou?”
That one’s even more vicious in their mockery of gentile Americans.
They cloak their hateful mockery in clever “jokes,” just as in Lebowski.
Once you’ve got that theme, how about an analysis of The Three Stooges mockery of American goyim?
They were probably the first to make a living out of making goyim look like dipshits.
Great work. Keep it up!
Most of the movies these Jew brothers make mockingly depict dim witted White Christians. Raising Arizona, No Country for Old Men, Fargo, etc. And for some reason dim witted White Christians enjoy watching them.
‘There cannot be a more perfect example of mass gaslighting than the 1998 Coen brothers’ film The Big Lebowski. By inverting sloth, fecklessness, penury, and alcoholism into admirable qualities—essentially making it cool to be a loser—this film offers up the Jewish ideal for a gentile in the character of the Dude’
Yeah well thats just like…. Your opinion man.
all hollywood is just filth and trash. jew in, jew out. garbage.
my all time greatest want to blast the tv screen with a .357 moment was that goddamned honey boo boo bullshit. talk about shit on whitey. grrrrrrr…
look. one of the producers.
was there ever any form of filth or profanity without a jew involved?
Lebowski or Lebowitz? Looking at photos or the film I see a typical small town Jewish dude. Does John Goodman and Jeff Bridges come from Jewish lines? Hard to have that much success in Hollywood if you are a gentile.
— Walter Sobchak
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I’m a nihilist myself. Both moral and existential.
The movie is quite a brilliant satire, with the players being over-the-top caricatures of the denizens of various West Coast social strata. The essential contradiction that viewers not of the dude’s generation or background miss is that he reveals himself in passing as one of the authors of the SDS’ powerful anti-imperialist manifesto, the Port Huron statement (look it up). Such a man would not be caught dead repeating Bush I’s warmongering bluster about Saddam Hussein, no matter how many brain cells he ruined in the intervening decades. This bit of nonsense appears early in the film and sets the tone for the Swiftian burlesque that follows.
This tiresome trope of the all-powerful Jew seems to me to be the subconscious surrender of weak or fearful minds to the Jews’ own arrogant conceit of themselves as the only folk who matter, by whose forbearance is determined the fate of mankind. As H. L. Mencken observed, for every complex problem there is a simple solution – and it is always wrong.
The parts portraying Saddam Hussein, and the anti-Arab utterances and implications, along with the “line in the sand” statement are all deliberate propaganda.
One must-see Coen Brothers film that relatively few people have seen is “A Serious Man,” released in 2009. It is the most overtly Jewish film in their oeuvre, starting out in a shtetl and flashing forward to St. Louis Park, a heavily Jewish suburb of Minneapolis. There are no name actors in the film; in fact, it appears that having a recognizably Jewish appearance was a criterion for being in the movie. Definitely an eye-opening movie. Well worth seeking out.
I remember that someone remarked about Joel’s daughter that she had her father’s looks and her mother’s musical talent.
The author does not point out the manipulation of the goyim in general, but he does point out the manipulation of white Americans. Subtle, but important difference. In Latin America, for example, the film is in no way a cult film. It’s not even entertaining. It simply shows the common life of some Western idiots.
Fascinating analysis – likewise the piece about billy joel in the comments
For anybody interested in such things, I highly recommend the videos of one “Wyatt Stagg” – he takes this theory to the next level:
https://www.youtube.com/@wyattstagg1783/videos
https://odysee.com/@WyattStagg:e
The bob dylan and leonard cohen videos are particularly shocking but all are worth watching.
I would also be interested in hearing anybody’s views regarding the current ben stiller project “Severance”?
The theme of the film is that the only person who does anything of worth is a cripple!
I have to admit I thought Raising Arizona was hilarious and No Country For Old Men was a great movie imo. It wasn’t as if these movies were blatantly anti White like shit from Tarantino or countless other kosher crap out of Hymiewood.
Big Lebowski did capture much of the anomie of the 1990s, that brief decade between the Fall of the Berlin Wall and the 9/11 attacks. Might also consider the line from 1999’s Fight Club:
“We have no Great War. No Great Depression. Our Great War’s a spiritual war… our Great Depression is our lives.”
Well, the 2000s saw that Great War and Great Depression. And it also saw the rise of the Dissident Right. We can look back at the world of Lebowski as the calm before the storm, like the 1950s before the 1960s. Now let us see the Dissident Right complete the cultural revolution of the 21st century.
Under Personal Life @ wikipedia:
On June 30, 2017, Tarantino became engaged to Israeli singer Daniella Pick, daughter of musician Zvika Pick. They met in 2009 when Tarantino was in Israel to promote Inglourious Basterds.[220] They married on November 28, 2018, in a Reform Jewish ceremony in their Beverly Hills Home.[221][222] As of January 2020, they were splitting their time between the Ramat Aviv Gimel neighborhood of Tel Aviv and Los Angeles.[223] As a result, he is trying to learn Hebrew.[224] On February 22, 2020, their son[225][226] was born in Israel.[227] On July 3, 2022, their second child, a daughter, was also born in Israel.
In 2015, Tarantino said that Barack Obama is his favorite president[230] and voiced support for the Black Lives Matter movement.
In response to the Hamas-led attack on Israel on October 7, 2023, Tarantino visited a military base in southern Israel to “boost the morale” of Israeli troops.
5ds
Maybe Tarantino needs to make a movie featuring a Palestinian called Bear Pali smashing an Israeli soldier in the head with a baseball bat to show that he isn’t a biased racist kikesucker. I mean he had no problem glorifying extreme violence against Germans carried out by Jews. What is good for the goose is good for the gander.
It is a great show -documentary about USians sans the war mongering and genocidal ideations.
Morris Berman-Why america Failed
ha ha ha asskins you love morrie huh?
Here’s Morrie!
I didn’t know america failed is that why morrie moved to mexico? is he bermantinez now? 🇲🇽 ¯\_(ツ)_/¯
If anything this film is mocking the “shabbos goy” Walter and his Jew-obsession.
THere was a good opinion piece 20 years ago called, “Walter Sobchack – the First NEo-Con!”
By the way the opening DUde is writing a check on September 11, with GHW Bush in the background.
The COens actually show the Joooo method in movies like “Barton Fink” (which I still don’t fully understand), they are / were hollyweird OUTSIDERS. Them and their friends the Raimi brothers (lots of early collaborations / ensemble actor swaps).
Now that they’ve stopped making movies together, it’s clear who the talented one is – the quiet tall one who never says shit in interviews. It’s the loudmouth shorter guy who is still in hollyweird making lesbian shit movies for some joooo boss.
By the way I’m relatively certain the “Big Lebowski” plot is some old film noir I watched decades ago, name’s slipped my mind but the plot of a kidnapping that wasn’t a kidnapping and “a buncha stuff happens” is an homage to an old 1940s black and white classic.
I like “The big Lebowski” but the Coens have made a string of really decent flicks over the years. About half of them are bombs like this one, half are hits, so they do keep getting chances to work. But probably their best stuff was as independents. “Blood Simple” is a good thriller, and “Raising Arizona” is a barrel of laughs.
There is a lot of over-interpretation going on here.
The Dude is a reworking of ancient European stereotypes of wise men playing fools (think Socrates in some of Plato’s dialogues).
As one comment on an excellent video says:
“The Big Lebowski is just Altman’s The Long Goodbye which itself is The Idiot and Don Quixote filtered through Raymond Chandler.”
The video:
Video Link
“In many esoteric systems of tarot card interpretation, the Fool is interpreted as the protagonist of a story, and the Major Arcana are the path the Fool takes through the great mysteries of life. This path is known traditionally in cartomancy as the “Fool’s Journey”, and is frequently used to introduce the meaning of Major Arcana cards to beginners.[21][22]
According to A. E. Waite’s 1910 book The Pictorial Key to the Tarot, the Fool card is associated with:
Folly, mania, extravagance, intoxication, delirium, frenzy, bewrayment. [If the card is] Reversed: Negligence, absence, distribution, carelessness, apathy, nullity, vanity.[23]”
The Dude (IMHO) is the “divine madman” which appears in tales and legends throughout world history. I feel that the Coens just got lucky with The Big Lebowski — their other films leave me cold.
The Hollywood code dictates all Jews must be depicted as wise, humble, family oriented, and always ready to help the less intelligent Whites. Where would the White race be if there were no Jews to help guide them, I shudder to think.
Lebowski is not any kind of model for anyone.
And the movie is like an allegory of the Gulf War and US involvement in the Middle East under lies and excuses.
It happens over a rug, invoking trope of the Aladdin’s magic carpet.
And Lebowski’s radical 60s bona fides are stuff of mockery. He tries to be forever young but is a dinosaur.
“The movie is quite a brilliant satire, with the players being over-the-top caricatures of the denizens of various West Coast social strata.”
Yeah, my favorite are the “caricatures of the denizens of…West Coast social strata,” all the hilarious depictions of the Israeli mafia, Jewish porn kings, Jewish producers, etc, etc, etc.
Oh, wait, the Coen boys did not include caricatures of their own “social strata” did they?
Hmmm…sort of blows your intentionally ignorant observation away.
Kind of like “Sash Cohen” satirizing all nationalities in his dumb-ass hateful propaganda “Borat” movies. The most hilarious parts of those movies was when he played “over-the-top caricatures” of Hasidics, rabbis sucking circumsized penises, the hilarious jokes about orthodox Jewish girls wearing wigs, the uproarious comedy on the stupid side-curls, and the huge punchline about humping the Wailing Wall!
Weren’t those great?!
Oh, wait…no Cohen didn’t make fun of that “social strata”, did he?
Hmmm…wonder why?
I question the intelligence of Whites sometimes. They have kicked out these bloodsuckers over and over only to take them back in time after time. Even destroyed a continent full of Whites defending a people who are a natural enemy to Whites and Christianity. The definition of insanity is……..
Yeah, another Buddhist type was Arthur Schopenhauer, the Philosopher of Pessimism, who posited Der Wille, the gigantic treadmill of Life we all ride to the land of disappointment.
Life is sorrow, mostly painful, better to avoid goal oriented activity and keep it on the aesthetic appreciation level. Just watch the world go by and aesthetically dig the strikes and spares.
Schopenhauer would say, “Tis better to live above a bar, take care of a poodle, but definitely don’t try and definitely no kids”
Yeah The Goy’s teeth is funny.
“Help me” “Save Me” written on his lower front teeth.
Still no answers, just more questions.
Then at the end
“What happened to the Goy”
the Rabbi sips his tea and says”The Goy?…Who cares”
Video Link
Spencer J. Quinn: “By inverting sloth, fecklessness, penury, and alcoholism into admirable qualities—essentially making it cool to be a loser—this film offers up the Jewish ideal for a gentile in the character of the Dude. ”
Buddhism’s been mentioned, a Taoist connection has been claimed, and even Epicurus has been dragged into this, but to me, it could hardly be more clear that the “Dude” (aka the Lord) is an ersatz, discount version of Jesus Christ, right down to the capital letter, the long hair and goatee, and referencing himself in the third person. A slovenly Christliness was the fashion back in the sixties. But this Jewish ideal for a gentile is hardly an invention of the Coen brothers. It was offered up originally by none other than Jesus himself. Sloth? Penury? Taking no thought for the morrow? Jesus praises these things.
That to identify the Dude with Jesus was the comedic intent was underscored in the words of the Stranger at the end of the film. “It’s good knowin’ he’s out there, the Dude, takin’ her easy for all us sinners.” Who are the sinners? The Stranger can only mean everyone other than the Dude. People who take life too seriously are the sinners. But the Dude “abides”; he tolerates the mortal failings of ordinary people. Just like Jesus he patiently bears with such foolishness, and thereby rises, Christ-like, above it.
I would hasten to add though that this is not to say that the Coen brothers are intentionally mocking Christ in this film, any more than that the counter-culture of the 1960s, with its emphasis on love and universal brotherhood, was an intentional mockery of Christian ideals. It would be better to say that Christians, and all those who would imitate Christ, provide their own mockery when they try to implement such impractical ideals.
I just see the whole thing as a comic riff on classic Film Noir. The Dude is Sam Spade. Think Chinatown played for laughs. It is also — if you’ve ever lived in LA — all vaguely familiar.
I think you would enjoy Ernest Becker’s books, “The Denial of Death” and “Escape From Evil”.
I think these books would complete your mission to summarize the meaning of your life. Becker’s thesis is liberating. You can be released from any frustration, fear, or regret…..by rejoicing in Becker’s explanations in which everything you’ve noticed about confusing cultural oddities reflects back to repression and the fear of death.
There were some symbols in the movie that says this movie did not “accidentally” disparage non-jew (Goy or Christian):
1- A jew who thinks he’s Jesus Christ, but is a super creepy, foul-mouthed, disgusting individual.
2- Black checkerboard flooring which is an illuminati symbol.
3- Along with gender inversions, transformations of what we call art into grotesque or nonsensical creations, etc.
(from memory, watched first time 2 years ago)
I wanted to watch it again to document all the symbols used but never did.
There’s always been a large Jewish representation in the hipster community (as well as a good number of people from other backgrounds). Maybe the Coens figured we didn’t need an explicitly Jewish hipster hero. West Coast surfer slackerdom provided new comic opportunities that the Greenwich Village scene didn’t have, but I doubt anybody seriously thought of Lebowski as typically Polish or somehow typically Gentile.
What are we to make of 1960s Maynard G. Krebs? More subversion of the Gentile world? And what about the slackers in “Seinfeld”? An attempt to subvert the upward drive of the Jewish community? And the Coen Brothers’ own “A Serious Man”? Plenty of Jewish stereotypes there. Even worse — “Barton Fink.” They aren’t afraid to deal in offensive Jewish stereotypes. That one of their characters has a Gentile name shouldn’t be taken as an assault by the Coens on all non-Jews.
The Coens did go on to make a movie about the Greenwich Village hipster scene, “Inside Llewyn Davis”? Was “Llewyn” really “Welsh”? Or at heart Jewish? Or just an American? The actor who played him, Oscar Isaac, born Óscar Isaac Hernández Estrada — Jewish? Not Jewish? Does it matter? Not everything is a Jewish conspiracy. Jews may lead the way or move in early, but some things are “organic” developments in American or Western society.
ZeusBC: “What are we to make of 1960s Maynard G. Krebs? More subversion of the Gentile world? ”
Hmmm. Could be.
Why do you think they gave him the name “Krebs”? That’s the German/Yiddish word for cancer. It could be perceived as a little inside joke from the Jewish producers and writers. We’re giving the goyim cancer!! They were probably laughing their heads off about it. Then too, they named the main gentile character “Dobie”, which was frequently mispronounced by other characters in the series as “Dopey”. Talk about chutzpah! When you really think about it, it appears that these Jews were spitting in the upturned faces of their Christian goy audience, and America loved it! LOL I guess some things never change.
Krebs also always seemed to me to be a little out of place in Dobie Gillis’ America. Small and dark as contrasted with Dobie’s mesomorphic gentile blondness, he was like a New York Jew incongruously parachuted in for comedic effect. His aversion to work was similar to the Dude’s. Also similar in that even though there was something Jewy about him, he could as easily be seen as a gentile. But then, that could also be said of Jesus. To this day some insist that Jesus wasn’t a Jew. Even such a clear-sighted and Jew-aware man as Adolf Hitler believed this.
ZeusBC: “Not everything is a Jewish conspiracy. ”
You’ll get a lot of pushback around here about that. For example, there are those who maintain that Christianity itself is a Jewish conspiracy. After all, the gospel writers and the apostles were all Jews, and the gospels appeared during a period of Jewish rebellion against their Roman overlords. But if the Christian religion is a conspiracy perpetrated upon the goyim, then it’s had a very strange result, since the rise to world dominance of Western technological civilization is tied up inextricably with it.
ZeusBC: “Jews may lead the way or move in early, but some things are “organic” developments in American or Western society. ”
It’s a short trip from the scientific view that “Everything happens for a reason.” to “Everything happens because somebody wants it to happen.” and “There are no coincidences.” The first can lead to a neutral philosophical determinism, while the last two buy you a one-way ticket to Conspiracyville.
I believe I heard once that “The Dude” is based on a real=life slacker. As the narrator says, “The Dude is one of the laziest people in Los Angeles, which puts him high in the running for laziest worldwide.”
Barton Fink really made Jooish studio heads out to be scumbags, and jooish writers out to be elitist asshats.
Not Joooish. He does lose the cat of those Joooish folks he’s crashing at.
Love that movie. Maybe my favorite of late is, “Hail Caesar” where they make fun of commies (perhaps it’s low hanging fruit).
I feel the same about ‘Catch 22’ by Joseph ((Heller)). Reading it as a teen, I thought the protagonist Capt Yossarian was funny and whitty. As a middle-aged man now aware of the JQ, I see him as a coward, shirker and degenerate.
The most Jewish thing about the film is making a sex offender have the name Jesus.
I always assumed Lebowski was Jewish.. Living on fumes of trust-fund and past loralls.
Saw it in a theatre, then 20 years later on TV (HBO?). Realized one interesting thing…
The Dude never bowled a frame.
I thought that Walter represents Jewish psychopathy. He is kind of like Israel itself, or Netanyahu. He always has the wagons circled, and he thinks his perceived ethnic origins grant him special rights.
In the middle of the movie we find out that he is not a “real” Jew, but a “fake” one. But the entire Old Testament, exodus, etc., is fake.
The Dude represents one way of putting up with all that psychopathy. Accept it, put up with it, but not to let it get to you, keep it at a distance so that one’ s emotional stability is unharmed.
When will the sequel be made where the Dude has become a rich Chickenhawk in Congress demanding Everlasting War ?
I bumped into a DVD of Big Lebowksi for 50 cents, in perfect condtion, at a yard sale.
I like my DVD collection, as most of it cannot be found replicated on the crummy movie sites like Amazon, or Netflix…
But I took a pass on the 50 cent DVD. I had seen the movie Big Lebowski, and considered as this writer says.. very , in fact, extrmemely, professionally made.
But no.. it’s just too hollywood soft sell of the propaganda, for my tastes…. likewise as this unz article recites…
…and.. this same lead actor.. he even gets to remake John Wayne’s True Grit…
Wow.. hehe, I guess that perfect movie , of John Wayne in True Grit. …..New hollywood, could not resist a Jewish remake. ..very boring..
… I could not get through the whole movie…
Like so many of this actor’s movies…….. so much money poured into it.. .. at least it does not put you to sleep….but it does come close.
…. watching a real life crew , in person, take town tall trees is far more interesting.
Or a good mechanic replace a head gasket.. also…… more interesting than these formula Jewish-new-hollywood movies.
Old Jewish classic movies….I like them a lot.. and own many of them…
WTF is The Dude supposed to do, Quinn? Be an unthinking, consumerist NPC concerned with being a productive, Yahweh-fearing. Clown World taxpayer? I mean, he’s got the unthinking part down but still…
Not sure if whatever your ideal is is any better in the current zeitgeist.
Basically self-loathing destroyers. How many Weimar Republics does it take to reach the end of this? Or does it go on forever?
“Walter to me is Eric Cartman from South Park as an adult”
Well as Cartman would say, In dreams begin responsibilitehs!
This whole post really pulls the room together.
That’s an interesting point. I’ve noticed that in the Spanish speaking world, the whole Jewish inspired counter-cultural agenda – anti-white, LGBT, wokism doesn’t gain much traction.
For example in Spain, it’s imposed by the Madrid Uniparty elite. It does influence political decisions (national and local) but it’s not able to subvert/devalue basic ethnic Spanish identity. Maybe Spain was under Moslem Arab domination for too many centuries or maybe regular Spanish people have been too poor for too long (up to the 1950’s).
In fact in Latin America it seems to go completely the other way. Ethnic Europeans have high status, are aspirational , and occupy the top layers of society. Lebowski is an irrelevant anomaly.
Roger Ebert gave this 3 stars. He later reëvaluated it, gave it 4 stars, and put it on his “great movies” list. I would explain, but I lost my train of thought.
If you listen to some people, there would be no littearature or art of any kind!
The movie is all about being real. Walter is not a born jew, Donny dies of a heart attack and not by a bullet, Bunny isn‘t kidnapped, Lebowski isn‘t blackmailed, there is no money in a suitcase, teen Larry didn‘t steal the money, the Corvette belongs to someone else, it is not Bunny‘s toe and finally the ashes of your friend blow in your face etcetc. Slacking, drinking white russians, bowling, relaxing, mocking a video artist and having a baby with Julianne Moore aren‘t that bad. The Dude is getting things done.
I assume the Dude, Walter and perhaps several other characters are Polish-Americans. Walter Sobchak is a convert to Judaism but was presumably born into the Polish-American Catholic milieu. Like many converts he takes things too seriously, such as not rolling on Shomer Shabbas. Whether anyone has deconstructed the Polack aspect of The Big Lebowski is unknown to me.
The Dude is getting things done
Despite himself. When that Indian doctor checks him out, presumably his sperm count, it is perhaps the most meaningful if understated part of the film…
Too macho would be my assessment. Limits the degeneration, in my view.
There used to be a blogger on this Unz Review who used to talk up The Big Lebowski and the Coen Bros. Now the old neocon name-dropper has taken his commentary on golf course architecture and baseball stats to Substack (yawn).
Btw, just checked, a piece on baseball pitching stats is his latest. There are sports writers with a lot more knowledge and experience who are privy to “inside baseball” info and access. But I guess his boomer followers are still impressed with the “noticing” schtick from this former retail store marketing researcher.
I think an important part of the film is the Walter vs. the Dude dichotomy.
Gilad Atzmon often writes about Jerusalem vs. Athens. Jerusalem is the city of revelation, which functions based on that. The rules of what one can and can not do are always very strict. You are allowed to say X, but not Y, think X, but not Y, do X, but not Y. The strict set of rules are there to convey an image of morality, but in reality, it is the exact opposite. Athens is the birthplace of philosophy, and it was Athenian thought which gave birth to Roman Law, which is based on the idea that human reason can access morality. Morality is not strict rules, but reason, intellectual autonamy and debate.
Walter is a Jerusalemite, while the Dude is an Athenian.
The movie does raise interesting questions about how an Athenian can deal with the constant tyranny of Jerusalem. After all, the Dude abides. In the scene where Walter lets the dust of their deceased friend blow in the Dude’s face, the Dude probably wants to kick Walter…but in the end just says: let’s go bowling…
the movie is a stealthy promotion of christianity
we have 2 trinities –
the dude = jesus
walter = the father, jehovah, angry, vengeful
donny = the holy ghost, mysterious, never says much “shut the fuck up donny”
the nihilists are the unholy trinity
“whatever you say about national socialism, at least its an ethos”
other characters may have slacker assocations
– turturro – “jesus” – another false prophet / heretic “that’s just your opinion, man”
– sam bottoms, maybe an angel
the slut could be “the whore of babylon”
I was curious about TBL, so I rented it from Netflix. My mother-in-law came around the corner just as the slut in the bikini offers Dude “I’ll suck your dick for $1,000”. That was embarrassing and difficult to explain to my wife when she heard about it from her mother.
I always thought(and Jeff Bridges looked) like the dude was mid 40s at best. Not young but not a dinosaur. For a lot of the teens and 20 somethings- people who made the film popular- he was not that old and that was why he was beloved. Prime aged man, in the middle of his most “career” years lazing around,being a slacker. But this is just my way of seeing things.
The Dude is very similar in personality to the real-life aging hippy called Katz, Bill Bryson’s travel companion in the book “A Walk in the Woods”. With a name like Katz, we have to assume that he’s Jewish. But in the movie version, he sheds several pounds and is played by Nick Nolte, who more or less looks just like Jeff Bridges (ie, an archetypal northern European).
No, it doesn’t do that at all.
The more I watch and contemplate the nature of this movie the more it occurs to me that what I’m watching is a uniquely Jewish made film that mocks whites as ignorant, stupid and completely out of touch with reality. They are making fun of us to our face in film and laughing even harder that we lionize this movie as some comedy classic but which is really just a big fat shit on white people and dumb Americans. Jokes on us folks. Look how dumb they are they don’t even know this movie makes fun of how dumb they are! That’s the true Jew gist of it. I don’t abide in that.
“ A Serious Man” by the Coen brothers revealed the essential atheistic nihilism of the Jews
It’s not a funny as TB Lebowski
It is striking to realize that many no longer take Jewish content and influence for granted,and not because of fond acceptance.
This UNZ piece and the reader comments are an example of some of the first to stop applauding.
The Jewish Chronicle 2023 review gushed that Walter is the greatest Jewish character.
The “F” word utilized so many times in the The Big Lebowski.
Imagine a Hollywood effort; “Fuck Israel!” recited even once.Would be destined to become a Cult Classic.
So what we have is more Hollywood Jewish mockery of Christian whitey. Very convenient since so many hop to the movies and sit sopping up their being demeaned while chomping on their popcorn. Anyway one turns, Jewish success invariably is at the expense of Johnny fair skin.
The Eastern European Jews who founded Hollywood and the film industry certainly must have known that they stumbled upon an incredibly awesome force. The power of the “silver screen” to influence and indoctrinate one’s mind borders on magic. Most people actually believe that the movies they see are REAL…..and they plan/live/act out their lives accordingly. Just look at the after effects of the fictional movie “Schindler’s List”. It’s diabolical and certainly not an accident.
Half a century ago I was thumbing through bound 1930s issues of The American Mercury in the public library where I live—all this material, along with most of the books, was deacquisitioned by a new black library head thirty years ago—and came across an article condemning Hollywood for undermining American morals. I was amazed. I had never heard this view expressed before.
For the next twenty years or so I continued going to ‘the picture show,’ enjoying the movies, and, unknowingly, being exposed to and swallowing the most soul-rotting propaganda ever devised by man.
Youth! Ah, youth!
Screw youth!
Mass demonstrations in Serbia, Georgia, and anywhere else you look. Orchestrated by jew-run USAID and Soros-financed NGOs. Demonstration leaders? ‘Students.’
The West has surrendered its soul and its safety to the most naive, gullible, and ignorant segment of its population, the young.
We lavish ‘understanding’ on them. We ‘make allowances’ for them. We remember what we were like when we were young.
Enough already! I’m with Lukashenko all the way!
And TUR readers! Adults! Why are they still swallowing Hollywood garbage as if it were cordon bleu from the Tour d’Argent?
No wonder the West is so f**ked up. We gentiles are absolutely hopeless. We deserve the humiliation the jews mete out to us.
Movies and rock. That’s us. That’s who we are.
‘Don’t throw the baby out with the bath water,’ I hear someone say.
There is no baby!
There are even big Lebowskis among the landed gentry: Oblomov.
Odd how this 1998 movie opens with the hero writing a check dated September 11, 1991 as he looks up at a TV showing George Bush Sr. saying “This aggression will not stand.”
Predictive programming? More evidence for the thesis that this film, like so much Coen Bros. and Hollywood fare, boils down to “Jews mocking the dumb goyim”?
Gee, you think?
It really takes a special level of retardation to see Lebowski as some sort of ‘anti-White’ propaganda.
This is what happens when jew-hatred rots your brain. You start imagining things that aren’t there.
The Coens have produced a staggeringly impressive body of work, while the author ‘Spencer Quinn’, or whatever the fuck his actual name is, has produced nothing but second-rate drivel, destined for the dustbin of history literally the moment he writes it. The Coen’s movies will be loved and admired and imitated and discussed for generations.
What a fucking moron.
Well tarantino is married to an iznreali and lives in iznreal so there is that.
Touché.
Great analysis. Good point about the Coen not necessarily “conscious” of what they are doing. Jewishness is a state of mind, a way of “seeing” non-Jews, as either dangerous or ridiculous.
You should do a similar job on Forrest Gump. Although Zemeckis is not, apparently, Jewish, he does a great Jewish job at making the Goyim look their worst, and be proud of it. In that case, the happy, gullible imbecile. The film also had a tremendous influence, I think.
Once Upon a Time in Hollywood is an homage to the strong White American male fighting back against disorder, slovenliness, and filth.
Do you ever think people just want to make their movie, write their book, chase their dreams without having to wrestle the Tar Baby that is blacks in America?
Vagabundo Soy
Song by Los Hispanos and Rodolfo Aicardi.
Dejame vivir mi vida
Yo no soy malo con nadie
Si soy un borracho, si soy un perdido
Si soy mujeriego si soy un bandido,
Yo vago en el mundo, si soy vagabundo.
Mi vida a nadie le importa , ni el camino que llevo
A nadie le pido, a nadie le debo
Y aunque no me crean , con todo me llevo
Yo vago en mi mundo, yo soy vagabundo.
The Power of Latin Music. Better than Gringos sh…
I’d settle for a bumper sticker.
Sailer is a jew
Humor is a form of aggression. That is according to Freud.
Poor Oblomov! I identify with him.
There’s a very good audio version on librivox.
https://librivox.org/oblomov-by-ivan-goncharov/
Prince Myschkin, the hero of Dostoevsky’s The Idiot, is “a modern-day Christ.” He’s Dostoevsky’s idea of what would happen to and around a Christlike person in the corrupt world of the author’s era. It’s a serious tragicomedy with an emphasis on tragedy, because Dostoevsky was a Christian.
Lebowsky is the Coen brothers’ version of a modern-day Christ, so in that sense it’s a take-off on The Idiot to which it delivers a throwaway tribute. But its Christ figure, Lebowsky, is a blasphemous mockery, which is unsurprising since the filmmakers are Jews and Jews hate Christ.
“When Freud was on the boat coming to America, this is what he told Jung about his new concoction, psychoanalysis: “the Americans don’t know, but we’re bringing them the plague”.”
Thanks.
I’have read its before somewhere.
“The Big Lebowski”. Loved the movie. Thought Jeff Bridges played The Dude perfectly. I looked at The Dude as a cartoon character. Someone who would let the action in the movie revolve around him. And how The Dude handles himself is the Main Theme of the movie. On that level “The Big Lebowski” is a terrific movie. I get the brainwashing angle though. The Dude is an Ideal for what the Jewish controlled Movie Industry wants for the Goyim. Is anybody dumb enough to take The Dude seriously? You tell me.
Disagree that we’re not supposed to laugh at the Dude. Plenty of scenes come to mind:
-When he’s high as a kite driving his car and singing Creedence
-When he’s wide eyed in his dream sequence staring up women’s skirts
-When he gets Donny’s ashes blown in his face
-when he executes the lame comeback “Well, that’s just like, your opinion man.”
etc.
I do agree the Cohens downplay his loserishness because he is the main character, but we are still meant to find him a figure of fun. Its just that he’s the laid back, directionless weirdo surrounded by a maelstrom of hyper-driven weirdos on their life missions. So the Dude gets swept up in their adventures by the force of their winds, and his outsider status to their lives allows their weirdness to shine through. He comes across as likeable because everyone else’s schemes and drives and actions seem so bizarre when viewed from the outside. I mean, why bother, man?
Its a similar setup to Seinfeld, where Jerry is surrounded by crazies and he’s the sanest one, but still has foibles to laugh at (e.g. his always finding a small tick in a gf to cause him to break up, his weird hate-rivalry with Newman).
The Big Lebowski paints LA not as some metropolis but as a small town full of weirdos. The only catch is that all the weirdos get caught up in a murder-kidnapping plot involving a porn slut.
Welsh? I would’ve assumed that he was a parody of Bob Dylan.
The movie is too long and too boring. Coen Brothers movies are always too long and too boring. Then they stick in some spurting blood to gussy things up a bit, but it doesn’t help. They have no self-control. And you can tell they write as they go along, with no clear idea of where they are going. Thus, they go on and on and on. The people who like the movie are stupid.
I thought the real hero of that book was the guy who kept ditching his planes and eventually escaped to Sweden in a rubber raft. Yossarian wouldn’t fly with him.
There is much more to Catch-22 than Yossarian. Milo Minderbender is a character to pay attention to.
I also dabbled in pacifism. Not in ‘Nam, of course.
Say what you will about the tenets of National Socialism; at least it’s an ethos
Yes, that’s TJB.
Good post, thanks.
This reads like some puritan rant. I haven’t seen this movie, but there are characters like this in literature since the most ancient times.
But jews are the reason California, and Whitey World, have gone from El Dorado into a dystopian nightmare.
There have always been useless slackers – but they aren’t portrayed as heroes.
The Dude should kick Walter because Walter doesn’t know how to behave. FYI I thought this movie was STUPID and annoying
A man in a wheelchair is the only person who does anything in the movie and does it for
great charity. That’s my take.
Uncut Gems? Wolf of Wall st? War dogs?
oh brother spot the schlomo
The Big Jewowski
What’s YOUR actual name?
Mine is Jeffrey A. Freeman.
Come see me.
Isn’t it essentially the Book of Job?
The Lebowski character was inspired by an acquaintance of the Cohen brothers. He’s not presented as admirable, just harmless and humorous. As the cowboy says at the end, there’s something to be said for how the Dude “abides”; if everyone is a contentious and pretentious prick, the world is a worse place (one full of off-kilter thumbsuckers like this).
You want a “better example” of Jewish anti-gentile gaslighting. I could find a thousand. Try Caddy Shack for starters. None more effective than Blazing Saddles. They are legion. Yet you pick this one?
And for a pair of smart-assed clever filmmaking Jews the Coens are remarkably fair and non-hostile to white Christians. Their True Grit was an ode to stalwart Protestantism. The Ballad of Buster Scruggs includes a paean to American settlers, those who Mel Brooks joked of as “you know, morons” in BS, which introduced every tired anti-white trope in its tale of the brilliant, charismatic black hero saving the white dullards from themselves. Brooks was “mad” about racism, the prick.
This is tiresome. Sometimes a white Russian is just a white Russian, dude.
Raising Arizona makes fun of trailer-dwelling Arizonans but ultimately presents them as noble and loving. The portrayals are affectionate. I actually found the end moving. The protagonist of No Country is hardly a dimwit; neither is the Tommy Lee Jones character. There are actually no stereotypical white dopes in that one I recall–maybe the border guard. Likewise Fargo (which I didn’t particularly enjoy), which is guilty of condescension at most, portraying Minnesotans as goofy but decent.
Very nice piece, thank you. One quibble is that the weaponization of ‘dude’ against the Whites predates this movie.
“Animal House” predates “The Big Lebowski” by several decades, and I feel confident in saying that it caused more harm, especially to men in college. “Animal House” inclined an entire generation that education is a stupid waste of time and getting laid is all that matters.
Guess what ethnicity wrote and directed “Animal House”!
This is true. but the offer forgets the first iteration of “the dude” this one, a quasi-fictional character offered up a few years prior…
ALL major-release movies are propaganda first. there are NO exceptions to this. The Coen Brothers were well aware of what they were doing with TBL, as they were in lampooning Minnesota WASP culture in Fargo. Your slavemasters have to hire talented people to get eyeballs on the screen, but those people are given guidelines in order to get money to produce their creations.
5 Stars in agreement.
Just re-read Oblomov. Everyone should know this book. Spencer should at least. Then he might see Lebowski is a good but listless soul in a decadent society.
see David Cronenberg’s excllent movie A Dangerous Method – it features this idea in a milder form in its title.
You didn’t know Billy Joel is Jewish, for that long?
This is his alternate fantasy movie about Hollywood professional history of the 60s.
Just, his other movies-I saw only parts of them- are full of blacks, trash culture & Jewish psychotic obsessions (not about Jewish ethnicity with specific cultural traits).
Even in “Once…”, I think DiCaprio screams about “Nazis” at the end. Admittedly, to a non-American ear- “Nazi” mental association is utterly bizarre. No one, from Portugal to Poland, uses the term “Nazi”. It simply disappeared from collective memory & lives only in history books and among far-left activists. Even “Fascist” is rare, while “Nazi” is non-existent.
I guess this shows Jewish cultural influence in the US, along with a load of Holocaust movies basically no one cares about. Most people in Europe are not “Holocaust deniers”, but they are neither Jew-obsessed as many Americans seem to be. Nazis, WW2… this is the past only lunatic fringe rants about.
Perhaps the joke was on Mel Brooks. Virtually all fans of that movie, despite knowing it’s an anti-racist film, are just in it for the N-word.
So are you.
Oblomov is infinitely deeper. “Oblomovshchina”, as Russians of that time tried to characterize that phenomenon, seems far-fetched to me . Oblomov’s character is evidently a case of psychiatric & not a social condition.
I see Tarantino’s work as the ultimate satire on the Jewish institution of Hollywood itself. All the hyper-violent WWII revisionism, the machine-gunning and flame-throwing of Nazis, it’s so crass it has to be Tarantino consciously out-Jewing the Jews as a form of mockery.
I am not overly focused on Jews in Hollywood movies, but I think it depends on time & the author. There are movies involving Jewish gangsters & psychos; then, parodies of traditional & neurotic Jewish intellectuals in Woody Allen; also, they are portrayed as victims, especially those who survived WW2.
Taking everything into account & rolling it into one, a movie “Jew” is a neurotic outsider.
If that was the case, he would be unmasked by some more intelligent Jews. On the contrary, he uncritically revels in the worst of stereotypical anti-white garbage & no one sees it as a satire or condemnation.
So subtle no one sees the subtlety.
Speaking of “flaming” I will bet dollars to doughnuts Mr. Tarantino has sucked a cawk or two in his day. Tarantino is a rip off artist like his kike masters. None of this “flamer’s” movies are original, he “borrows” shit, puts in over the top gore, sprinkles in sexual perversion and curse words, sheesh this ugly turd is nothing more than a Hollywood version of Howard Stern, (remember that clown.) Stern made millions on the backs of people like Beetlejuice, Hank the drunken dwarf, and the rest of the Wack Pack. How much did these guys earn? Stern’s only talent was peddling and mocking people who were mentally or physically disabled, telling dirty jokes that people heard in junior high school, or showing T&A. This clown has hundreds of millions but people who really brought in his audience like Beetlejuice probably walked away with 2-300 hundred thousand if that.
Maybe Stern SHOULD PROVE he is not a RACIST KIKE and give Beetlejuice about 50 million.
I’m sorry to insult the author, but what could be gayer than immersing oneself in anything coming from Hollywood, recalling that even the supposed super stud James Bond was the gay fantasy (projected on women) of Ian Fleming? Going to the movies used to be considered, for good reason, a strictly low-class marker, on the level of going out for dinner wearing a bowling shirt or wearing a pastel leisure suit with matching patent leather shoes and belt to a wedding.
As Nassim Taleb argues in his Fooled By Randomness, entertainment’s audition process ensures that not only do the best not rise to the top, but guarantees the mediocrity we see being passing off for talent by Hollywood. These actors usually turn out to be degenerate slobs, elevated to stardom for reading lines written by losers. The term best describing interest in Hollywood fantasies is vicariousness and hardly artistic discernment. How in the world can anyone sit for an hour and more watching Jewish mental illness being passed off as art in these Hollywood films?
Severance has a fakket in one of its characters. And an occasional mixed race dating.
But all in all, it’s got a pretty storyline imo.
Not too subversive as of yet.
You’re obviously blind to the influence jews have in Hollywood- they created it – and how they use it as a massive weapon of mass indoctrination.
Just the fact that you don’t see anything abnormal in this movie, shows how indoctrinated you’re.
One more observation from a former cinephile.
Regardless of producer/director’s ethnicity, virtually all American films in the last 50 years are- artificial. They are parodies, fantasies, compilations from film quotes,… highly artificial & unpersuasive. They- unlike the best French, Italian, Polish, Russian… films, do not create an illusion of reality.
They remain an illusion from start to finish. From Coppola to Wes Anderson. An indelible impression of faking it.
Unlike many movies from the old Hollywood era (Ford, Welles, Houston, Capra,..) which, while evidently stylized, somehow leave the impression of being believably “real”.
Serious question:
Is every society, always, decadent?
Indeed. Above all…the regognition of the state of Decadence.
Good ol’ Lebowski. Lebowskisteinmetz!
I reference Jim Hougan; ‘Decadence’
William Morrow And Company Inc 1975
“America Flambe’ ”
Incapable of resurrecting the past,and unable to affect the future.
We are left in the present with the evidence of our decline.
We become self conscious and detached,morbid students of the national pathology.
The certainity of our fate- the Inevitability of America.
Renders us aloof and,in doing so,generates a clarity which,because it is impotent,finds it’s expression in irony.
………..and a dandy opportunity for ‘Movie Producers’. $$$$$$$$
I agree. Apparently many critics mistake Oblomov as a societal critique when it is in fact a character study. People want to think we are molded, especially to the extent we have faults, rather than born. It absolves us of blame, it gives us hope and it’s too depressing to think we really have little control over who we are. But as you see Oblomov, despite his deliberate exertions, is fated to slip back into himself over time. Making the upright and admirable Stolz a stereotypical (from Russian sensibilities) German character and Oblomov’s opposite also gives the impression it is a work of social criticism, specific to Russia, as in Gogol. And there is social criticism there, some of it uttered by Oblomov himself.
I don’t know if it’s the author’s intention but I see him as having a point when he expresses exasperation at the frenetic pace of fashionable society. His dream of a world where nothing really happens is not entirely unappealing when we hear him describe it; Oblomov’s dream is to live in harmony with nature, and with one’s own nature. There is something to be said for Oblomov’s rejection of ambition and striving. The problem is it’s untenable in modernity. To that extent the story is a tragedy. I view the story as a character study set in a social critique.
But Oblomovs are eternal. I have no little Oblomov in me. As I understand it in Russia there is not just the concept of Oblomovschina, but of Oblomovitis–the former being the conditions that produce an Oblomov (which I discount) and the latter being the common character exemplified by Oblomov.
An individual case, rather than a group, ‘typal’ case?
I see him quite differently, as merging seamlessly into the fatalistic fin de siècle, turn of the century, pre-revolutionary Russian type.
Oblomov is paralyzed. His successors are paralyzed before impending catastrophe. It’s quite marked.
I sense the same ‘existential’ paralysis in the music of Rachmaninoff, and I consider that state quite typical of not just certain Russians, but Russians in general.
Just the ones worthy of literature.
Wut?
Spielberg should’ve won the Academy Award for this one.
Is not every era corrupt? Human history goes back milennia. Was there ever a ‘golden age’?
Yes.
Some Hollywood products are less tainted than others, but all are tainted.
I think the idea of entering a building, pay a substantial amount of money to sit down for 2 hours, and afterward leave the premise emptyhanded, is one of the most brilliant sales schemes ever…
How about you?
I’m happy to accept no one *else* sees it!
Gotta admit: it takes balls to take on high Priests of liberalism’s academic/cultural/media wing like the Coens.
They are peerless and at the top of their game. But like the sacred/taboo Holocaust or Hitler question, their work too is deserving of intense scrutiny.
No Country for Men, although terrifying and almost perfectly paced/edited/acted, is still a piece of art that deserves to be discussed. It is not a perfect representation of (a hopeless) reality.
It could as easily also be an attempt by the Jewish Revolutionary Spirit to subvert hope for this world and life.
IOW, the Coens should be viewed as Jewish filmmakers first.
Another great movie about an admirable loser is “Cool Hand Luke.”
The Cohen Bros. True Grit follows the original work of the book by Charles Portis faithfully compared to the than original John Wayne movie. The ending of the John Wayne version is not Portis’ ending. Cohens ended their film the way the book ends.
The Big Lebowski has been deciphered, its a Kabbala & Tarot grail quest: https://web.archive.org/web/20220511231200/https://www.zen48963.zen.co.uk/PCB1%20The%20Big%20Lebowski02.html
Similarly, Kubrick’s Eyes Wide Shut is structured on the 33 degrees of the Scottish Rite of Freemasonry. It’s key message is that the story of the Crucifixion is “a charade” and “fake” and the resultant religion’s purpose is “..to scare the living shit out of you. To keep you quiet” – as the character Ziegler puts it. I strongly suspect Kubrick (a self confessed secret society literature nut) was inspired by the 1996 book The Hiram Key. Hiram Abif is represented in the movie by the deceased character Lou Nathanson btw.
Bingo: https://web.archive.org/web/20220511231200/https://www.zen48963.zen.co.uk/PCB1%20The%20Big%20Lebowski02.html
Scalable professions, nice work if you can get it.
Kubrick was certainly aware of what he was doing with Eyes Wide Shut. The movie central motif of the movie is the revealing to the protagonist that Christianity is “fake” (see my other comment). The movie’s pivotal scene is an inversion of the Passion story, with a whore redeeming the sin of the protagonist (Tom Cruise) thru her personal sacrifice. The ‘sin’ he was saved from was infiltrating a satanic gathering. Cruise’s character is later told the whole intervention episode was “staged”. In the scene immediately following the ‘reveal’ (by the Jewish Ziegler character) Cruise’s first act upon returning home is to turn off the Christmas tree lights. Right after Kubrick tells us it’s lights out for Christianity (at around the 2hr 25 mark) the camera subtly focuses (watch frame by frame) on the bottom left of a picture outside the Hartford’s kitchen called “Presents for Tourists”. The painting is by Kubrick’s wife. The images in the corner of the picture are the only religious symbols in the whole movie.
I see it as politically correct pornography.
What would this guy say about Airplane?
“The Jews tainted the fish!”
Whut?!
Thank you!
I’ve tried, but ended up chasing my own tail, so now I have to work for a living…, but I do appreciate the ‘scalable professions‘ perspective.
It’s simple, they wanted to make white goys look dumb. Who better than Polacks?
Dostoevsky’s seriousness has to be tempered a bit. We don’t live in his century. And the TBL is taking this all a lot lighter.
The Dude is the fool, and he’s seen as less the holy fool than a perch to hang a less loaded joke: Walter wants everything to be dark and combative, and the Dude simply plays yin to Walter’s yang. Since the movie starts and ends on a light touch, I see no disrespect inherent in it.
My problem with this whole piece: There are enough things to get furious about. A modern-day Laurel and Hardy comedy is not one of them. Their roots are stronger than the joke they ended up with, and I think that’s part of the gag.
When it comes to Poland, “Nazi” is not the label you nowadays will run into very often. Unfortunately, you easily run into the term “Niemcy” or “niemiecki” (adjective meaning German) as an expression for utter malignity (in Polish language both the German people and the country of Germany are named “Niemcy”). Instead of “Nazi death camps”, many use the tem “German death camps”.
The first 10-15 minutes are great, but the whole movie is a stylized preachy nonsense. It is unrealistic in the portrayal of war, basically an anti-German silly propaganada.
But that’s not what I am talking about.
Spielberg is an entertainer, not a “serious” director. All his “ambitious” movies are shallow. But, the dominant strain of art filmmakers like the Coen brothers, Malick, Wes Anderson, Tarantino, Jarmusch … they are all highly stylized & artificial.
In comparison with, say, the best films by Kieslowski, Patrice Chereau, Zvyagintsev etc.
You are right & I would just add a few thoughts. I think it began with Vissarion Belinsky that Russian critics & social commentators always insisted that literature (mostly fiction, but even poetry) should be socially and politically “engaged”. You’re either for czarism, Orthodoxy, Russian nationalism- or against.
The same current of thought remains dominant until today.
That’s why authors like Chekhov were frequently criticized as apolitical, although Chekhov was more active in social work than all the others combined. He just didn’t preach.
Goncharov wrote his magnificent- and astonishingly modern- novel mostly as a character study, but even he couldn’t escape the stereotypes (Russian- passive, meek, impractical… German- energetic). Probably he didn’t mean it literally, but critics interpreted it that way. Belinsky was a mixed bag, but his progeny- Pisarev, Dobroliubov….simply dreadful. Chernyshevsky, Lenin’s idol- better not to speak about him.
It would be like taking some famous characters, for instance Faulkner’s Quentin Compson and insist he represents something essentially Southern in a historical-social sense & that Hawthorne’s Hester Prynne is the epitome of “American womanhood, Puritan variant”.
Anyway, I would recommend- among many books- an admirable Isaiah Berlin’s “Russian Thinkers”: https://libgen.is/book/index.php?md5=33C1227ECFCA9D985ACB3EB13F7DBAFE
That’s because of turmoil in the contemporary Polish society, where extremists expelled Goethe from high schools & demagogues want reparations from Germany- while 50% of contemporary Poland is a historical German land.
Thanks Bardon!
Your reply makes me guess that you also are aware of the in Poland spread myth about the Poles being the (only) genuine people of Europe.
(Btw, the figure that comments often on this site and calls him/herself Odyssee claims the same about the Serbian people.)
Then again, the Coen’s film, A Serious Man, “gaslit” audiences about American Jews. It wasn’t an endearing a portrayal of these people. Like Labowski, Serious is a well-done film.
Huh? I didn’t know that about Poles. Of course, I knew about Serbs. Also, some Bulgarian academic claims that humans, homo sapiens sapiens- evolved from Bulgarians & a few Russian “scientists” from their Academy of sciences have discovered that Moon’s surface contains letter from Russian Cyrillic script (though, I’m not sure whether they mean the script before Peter’s reform or after). That would mean that Russians are, actually, from Moon.
Loony tunes…
Maybe a rewritten version
The protagonist is never rewarded at the end like
Job was
Brooks, like Larry David & to a lesser extent Woody Allen, is possessed by an alienated Jewish identity. An unhealthy attitude to life.
Not so with some other directors of that ancestry, for instance Billy Wilder.
Russian intellectuals of the 19th and early 20th century thought Russia was held back by “Oblomovism”.
Yeah, so restaurants are a jewish scam too, right?
Fucking moron.
Sholomo or not, if you think Lewbowski is somehow ‘anti white’, you are a fucking dunce.
You’re a pedophile
What the fuck are you talking about? You can’t actually be this stupid.
Forrest Gump is a simpleton, not an imbecile. And he’s a hero. He’s honest, loyal, hardworking, determined, humble and faithful. And eternally optimistic.
And, of course, extremely lucky. And staggeringly successful.
He represents the idea that those foundational qualities of human goodness can prevail after all.
Remember, ‘stupid is as stupid does’. People are ultimately judged by their accomplishments, i.e. what they ‘do’. And by that standard, Gump is actually a genius.
Similarly, by that standard, you, ‘Laurent Guyénot’ or whatever the fuck your real name is, are an abject loser, because all you’ve ever done is blame others for your problems.
Forrest Gump is actually an inspiring story. Unless, of course, jew-hatred has rotted your brain.
The Most Obvious Anti White Films I Have Viewed (Including Miniseries On Television)
No Particular Order
1. Mississippi Burning
2. To Kill A Mockingbird
3. Goodbye Uncle Tom
4. Any holohoax movie ( take your pick)
5. Roots ( miniseries on the JewTube)
6. The Green Mile
7. American History X ( yes American History X was REALLY anti White not pro White)
8. Marathon Man * this trash was so ridiculous it was a comedy
9. Men Of Honor
10. In The Heat Of The Night
11. Mandingo
I won’t go near Tarantino’s Django Unchained or Inglorious Basterds and I am sure I left off countless of anti White movies that have come down the pike for decades but these stick out in my mind.
The most pro White Nigra In History
It is my pleasure to introduce our next President of the United States, Clayton Bigsby
I really think you are over analyzing things when you list these kike movies as anti White
The Big Lebowski
No Country For Old Men ( the villain was a beaner psychopath)
Raising Arizona was a hilarious COMEDY
There are COUNTLESS blatantly OBVIOUS anti White films and these are not among them IMO.
He would point out the fish is a symbol of Christianity, and is poisoning those on the airplane who’ve partaken of it. He would go on about how Leslie Nielson and the crew in the air traffic control center are all stereotypical Wasp masculine characters, made to look ridiculous. He would linger on the gag of making Lloyd Bridges a glue-sniffing drug addict. “Stop calling me surely” would become a subversion of Western notions of certainty and precision. He would draw great meaning from the “black, like my men joke.” Such a target-rich environment! There are even a pair of nuns on board. I wonder how much it would cost to commission a review. Spencer? I’m passing around the hat.
Keep talking to the mirror, you dunce. From a stupid country with a high percentage of mentally ill, inbred, mutant, stunted child-like arrested development. Where the cliche “dumb blonde” came from.
Machine people with washed out, bleached out personalities. Closer to The Borg than human.
The UNIFIED Spanish nation was established in 1492 when they expelled the Jews and the Muslims.
The Jews hate Spain because they were expelled in 1492 (after the Spanish Catholics bent over backwards to accommodate them).
The Anglos hate them as they were England’s number one enemy after the Protestant reformation occurred.
Ever wonder why the (capitalist) United States backed the communists in Spain during the Spanish Civil War?
Spain’s not a ‘proposition nation’ like the United States.
There’s no ‘E Pluribus Unum’ (Out of Many, One) ethos in Spain.
I’m pushing Jasmine Crockett from Texas. With her and another AOC, the JUSA will come apart faster and reset itself to a smoldering pile of embers. Then it can be rebuilt correctly, not patched and puttied over. Replacement many times is the only viable option. Take it from the Ancient Mariner Chief Engineer. Any country is just another form of an Engine Room or Machinery Space.
Tinkering around and piddling with the JUSA will not yield results that last or are significant. Got it?
She is absolutely precious:
A great legal mind, who offers deep throat, penetrating analacysts of various deep flayed subjects:
It is a mistake that one may think Miss Crockett’s utterings are full and overflowing with inaccurate, non-existent information, because they are not information, but a mumble-jungle of twisted, Black English, Jive, and Rap-like rambling, free association, emanating from an aperture between two cheeks positioned in a protruding fashion on the same frame.
She is our best and most dependable engine of dissembly and detonation-from which a new [several] republics can be created, for a homogeneous, compatible, and convening peoples.
I heard her hood rat act is fake. She grew up in suburban St. Louis and went to an all girl Catholic high school. Haha. I’m more black than this phony. No hood rat is Catholic. Pentecostal, or Baptist, but Catholic, ROTFLMMFWAO
As I have a good command of Polish, I couldn’t miss the on the alternative media omnipresent tales about the great Polish nation that was destroyed by the barbaric Germans. According to this widely internalised outlook, much of Western Europe was in ancient times inhabited by Poles and other Slavs. The names of cities like Berlin and Dresden naturally had Slavic names in the beginning. Furthermore, the horrible Germans continue owing all companies and MSM in Poland. Btw, the Germans allegedly have been – and still are – colluding with Jews in the task of genociding the great Polish nation. The narrative on official forums is, for obvious reasons, a bit milder. Many of these “erudite” people are referring to the historian Wincenty Kadlubek, who lived almost a thousand years ago.
https://www.katedra-wawelska.pl/en/historia-katedry/katedra-swietych/blogoslawiony-wincenty-kadlubek/
You would do well to attempt a little detachment. To paraphrase Shakespeare, fake being decent if you are not in fact. Who knows, you might even develop a little virtue. But being the guy who launches into a bigoted screed at the slightest provocation is never a good strategy. Have your Hasbara handlers coached you at all?
Also No Country was a faithful adaptation of the Cormac McCarthy novel. Their True Grit remained faithful to the source material as well.
You have to give the Coens some credit. Their work is completely lacking in most of the silly current tropes. No Magic Negroes. No Boss Girls. The Indians in True Grit and Buster Scruggs aren’t idealized, the butt of jokes in the former and threatening savages in the latter.
this was for @Poupon Marx
Forrest Grump is … not real. So he never achieved anything. He was only whatever the author and director made him to be.
The Coen brothers stuff has always been first-class filmmaking. They are the absolute kings of satire, regardless of their targets. TBL was under-appreciated in its time, but at least now is seen for what it is, a classic piece of satire. People have seemingly lost the ability to laugh at themselves. Do we blame the Jews or the Christians for that?
Throw your biases and politics out, the movie is funnier than shit. We need more TBLs.
Perhaps Mel Brooks has one good one left.
Generally, it is true that some Slavic people were positioned more to the West- but it was some 1000 years ago and even then these ethnic groups did not possess proto-national consciousness. We can speak about Germanics in, say, 800- 1000, but not about Germans in modern sense of the word. Charlemagne was neither French nor German, but Germanic. Actually,modern peoples begin later: French and English, in proper sense, perhaps in the 13th-14th C period, while Germans during the period- let’s say- from 1100 to 1500 & Poles perhaps in the 14th-15th C.
Actually, it is impossible to precisely determine, chronologically, “birth of a nation” for historical European peoples, and even more so for east Asian peoples and civilizations. When have Chinese become Chinese? Especially if a people changed their well-formed religion, like Greeks & Iranians.
My position: nations do exist; they are the central collective identity for modern people; both post-modern theories & romantic nationalist ideas from the 19th C are fake. Mature peoples are self-aware, but avoid extremes.
And- it is wrong to apply our European criteria to different civilizations, especially Islam and Hinduism, which have mostly religious primary collective loyalties.
Yes, but Jew Fragility is the PROBLEM. I have NO problem laughing at stereotypes of Whites IF it is a comedy and is done in good fun. The kikes are well known for being able to dish it out but can’t handle it. TBL didn’t offend me in the least, and I loved Raising Arizona. Now people need to start doing comedies addressing kike fragility, perversions, weirdness, and their hangups, let’s see if the kike can laugh at himself.
Hey Trinity – Jew fragility is not the problem, your point of view is the problem. I don’t care if the Jews or anyone else can laugh at themselves. That is their problem. It’s only important that you can laugh at yourself. It’s your life. Why waste your time trying to convince anybody else how to think?
Mel Brooks had no problem laughing at himself. Neither did Don Rickles. Apparently you weren’t around to see them.
Pick up a copy of Blazing Saddles or watch clips of the Carson show. People used to laugh at themselves. No one was sparred.
Life is cyclical.
You wish, friend. That movie probably did more damage than the whole of critical race theory, which at least became its own worst enemy as people see it for what it is now in its malicious and stupid entirety. BS flies under the radar to this day, still burrowing into impressionable minds like a parasitic worm.
The joke is always on he who copes.
JEW FRAGILITY, RACISM, AND HYPOCRISY is A PROBLEM.
Blazing Saddles was funny but full of anti White undertones as well. Give me an example of Brooks making fun of kikes?
I don’t feel like writing a dissertation on Poland and Germany. It will suffice to provide a link to a Prussian book published in 1864 under Bismarck. According to this book, Poland is much older than both Germany and Russia.
https://books.google.pl/books?id=nZgBAAAAQAAJ&printsec=frontcover&hl=pl&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Finally, I will drive a stake into the heart of the Germanic myth – a dozen or so years ago, genetic studies were conducted in Sardinia and it turned out that the Vandals (according to what Polish chronicles say) were Slavs with dominant haplogroups R1a and I2 (35 percent each).
Is this your idea of some sort of profound insight? That a fictional character is ‘not real’?
Christ, I feel sorry for you.
My question to you is, what’s it like to go through life as a retarded imbecile with an IQ of 60?
Doesn’t he get his wife back at the end? And the other things which were taken away? I may have forgotten the details. The giveaway is the whirlwind or tornado bearing down on him at the end.
Thomas Pynchon had his Zoyd Wheeler character from Vineland, that novel came out around 1990. ZW plays the slacker pothead sort of stuck in the left side sixties but has serious beef with the authorities of the day. TP also may have managed some kabbalistic undertones in a couple few of his other novels, they tend to read like a ‘magic eye picture’ (someone once wrote) or prints you used to see at the mall(rats). What appears to be squiggly lines and hodgepodge, when the eye is settled on the overall picture, eventually a schooner appears, or a lion, whatever when your eye is finally focused. It’s never the ‘thing’ but the thing behind the thing.
Check out TCOL49.
TBL was released in 1998 and supposedly they set upon trying to reimagine a Chandler story, so it goes. Not sure if there is any connection there but remember thinking that the main characters shared a likeness, reread Vineland with a book club about two years ago and still holds up.
Lastly, there was that knock against filmmakers (auteurs) being compared to authors (books) as far as old and new mediums, most can likely agree that there have been some wonderful movies made in the last century. Maybe the Coen Bro’s cherry-picked character with what they thought was cool or out there, from novels…dunno. (The Kenny Rogers segment appears original?) Sort of makes sense from a time standpoint that the audience can invest (or waste) a couple hours on movie entertainment where a book/novel could take upwards of 40 hours or so. So what if the Coen Bro’s are more popular or sold more than Pynchon — doesn’t mean it’s better.
Slainte
I don’t have the time or inclination to explain. Carry on, my literal-minded friend.
The story parodied a Chandler noir and the theme parodies old westerns of the romantic type–the Dude is the last of his kind (like the last gunfighter, say; he’s the last hippie slacker) in a changing world losing its charm. We first see him in the supermarket scowling at a television showing George Bush proclaiming his New World Order. The other Lebowski taunts him with “the hippies lost!” and it’s true, even if that Lebowski turns out to be a fraud fronting as a Reagan-era self-made man. Contrary to Spencer’s notion that the Dude’s involvement in the “original Point Huron statement” lends him gravitas, the joke’s on the Dude, as the achievement is one of quaint futility. I mean come on, the hilarious detail about “not the compromised first draft”demonstrates how the authors thought they were shaking the world only to lapse quickly, historically speaking, into pathetic irrelevance kind of drives it home.
Partly. He’s not a man of distinction like Job. He’s Everyman, the Jewish version. Job would be the sort of “Serious Man” he’s accused of failing to be throughout the film. Mostly Jews have gotten away with this phony Woody Allen tier self deprecation which is superficial and ultimately self-flattering. Oh we’re just too intellectual, charmingly neurotic and wimpy. Or colorful and charismatic businessmen and lawyers. The Coens have actually attempted, somewhat, self-critique, with Serious Man and the excellent Barton Fink.
You were comparing a fictional character to a living LG. Now that’s stupid. Like comparing Superman to yourself. Only an idiot would do that.
Possibly Walter. None of the others strike me as even potentially Polish.
Perhaps you’re confusing Poles with white gentile humanity in general…or at least American white gentile humanity. We are all that way — well, a lot of us anyway.
Think of it. A world of Poles…my landlord in Berkeley, replicated eight billion times.
Later still, for ordinary people. See Peasants into Frenchmen. It wasn’t until the end of the nineteenth century that most of the inhabitants of what is today France could be said to have seen themselves as Frenchmen.
Poles…a labor organizer who wrote his memoirs around 1900 commented that when he was a peasant lad, ‘Poles’ were the nobility. He and his peers considered themselves ‘Masurians.’
Southern Italian conscripts in the First World War couldn’t understand their northern Italian officers. Greek partisans as late as the Second World War were embarrassed to find that the Yugoslav partisans were enjoying more success in northern ‘Greece’ than they were; the villagers could understand Serbian better than they could understand Greek. Somewhat awkwardly, an early ‘Greek’ martyr for independence declaimed on the gallows before the Turks hung him, ‘a Romios I was born, and a Romios I will die.’
Etc. National consciousness as we understand it is largely a product of universal public education and mass media. ‘Greeks’ literally had to be taught to speak Greek. Ditto for Frenchmen — and I assume Germans. Prior to the last couple of hundred years, national identity was simply not very important.
It would have been more like John Masters’ analysis of the traditional mentality of Indian villagers. A ‘foreigner’ was anyone from outside the village. Even the great wars of national liberation of the Nineteenth Century were largely affairs of the upper and middle classes. French officers in the war of 1870 were shocked to realize that the inhabitants of ‘French’ villages preferred the Prussians to the French; both sides would seize livestock and requisition billets; but the Prussians wouldn’t seize young men as conscripts, while the French would.
The Dude’s name is Lebowski. Hence the confusion with the guy in the wheelchair. Not O’Shaughnessy, not Martello, not Smith. Lebowski.
I agree about Walter. Despite his not rolling on Shomer Shabbas he is very Polish-American Catholic (believe me, I know), not Jewish.
A world of Poles. I might like it… Stanley Kowalski colliding with Jozef Pilsudski…
The Greek martyr may have been referencing the Greek Byzantine claim to be the continuation of Rome. In Turkey, Greeks who used to be present in the West or the Black Sea are were often referred to as Rum. He may also have been an Aromanian, a group that is an offshoot of the Vlachs or Romanians, and scattered throughout the Balkans.
During the Greek Civil War, a lot of the propaganda coming out of Athens stressed not the Communist character of the guerrillas the army was fighting, but their allegedly Slav ethnicity, and indeed quite a few of them spoke Macedonian as their first language.
An English traveller in what is now Belarus before WW1 asked his coachman what his nationality was. The coachman said, “I am a Catholic from these parts.” His identity, to the extent he had one, was religious. Some might have considered him a White Russian or Belarusian, others a Pole. He himself was probably not sure and did not care much.
Yeah, okay. If I’m ever going to be a successful bigot, I’m going to have to step up my game.
Probably that. The Christians around the Aegean basin seem to have seen themselves as the descendants of the late Byzantine Empire rather than the Ancient Greeks (who would have been largely forgotten in the popular imagination).
Hence ‘Romios’ — or Romans. Thinking about it, the Turks did methodically expel the surviving population of Constantinople, then resettled the place. A lot of the Christians thus scattered about could have quite literally been ‘Romans.’
19th century Polish nationalists, themselves ironically often of German descent, often found national consciousness among the Polish peasantry to be rather weak. Then again, the latter may have thought that the landowner or official demanding taxes was going to be what he was, irrespective of whether he was Russian, Austrian, Prussian or Polish.
With Hollywood movies we need to ask what is the ideological content, because it’s always there. I’ve never seen the movie, but apparently two Jewish brothers use a movie to promote the subversive idea that when the Jew peels back the veneer of the cool American male, there lies disgusting, cowardly emasculation. I may be wrong about this movie, but the relentless condemnation of manliness in America has provided ideological content for Hollywood movies for some time now.
There are some excellent discussions on line noting that Walter Sobchak never went to VietNam. For example: reddit.com/r/FanTheories/comments/9aj7qx/walter_from_big_lebowski_was_never_in_vietnam/?rdt=33163
The ones who didn’t go but pretended to go are generally a lot more militaristic warmongers than those who served in battle. “McStain” McCain was a weird exception.
If Sobchak made up the Viet Nam stuff, maybe he also made up the Jewish stuff.
The same problem came up again when what Poland was to consist of was being hammered out at Versailles.
At first Polish nationalists were all for plebiscites. If a given region was 40% German and 60% Polish it’d vote to be part of Poland for sure, right?
Well, no. It turned out enough Poles preferred to stick with the devil they knew rather than find out what life would be like with exciting new Polish tax collectors, etc. If it turned out that, say, a quarter of the Poles preferred the perhaps somewhat arrogant but familiar Prussians, well…
Time for Plan B. Skip the plebiscite and just demand the region because…blah, blah, blah. Besides, screwing Germany is good, right?
I’ve always figured that was a mistakeroo. Something like 600,000 ethnic Germans promptly decamped from the new Poland. That would have made them around 1% of the population in Germany — and you can bet they had lots of hostile things to say about Poland. It must have made Goebbels’ job a lot easier, come the day.
Yes, same goes for the Anglo and classical dramatic traditions. Though I’m sure the Jews would like to take credit for Shakespeare and the Greeks (or have they? it’s hard to keep up). All those suckers, leaving the theater with nothing but the asses they were sitting on!
Literature is another one. Good money for paper that doesn’t even make for a proper fish-wrap. What a scam!
Sure, I’ve had experiences from distractingly enjoyable to positively transcendent, but nothing that can match the feeling of walking out of the store with a good pair of socks!