If you want to see what sort of movies Jews make for themselves, rather than for goyisch consumption, watch “The Tollbooth” (2004), with Marla Sokoloff as the just graduated Jewish girl from Brooklyn Sarabeth Cohen (whose name is a combination of the names of her two Holocausted aunties), and her Irish-American boyfriend Simon Stanton from Pennsylvania played by Rob McElhenney. McElhenney as the lone goy in the movie, aside from a short scene in Pennsylvania, is cast as the moral dilemma for a Jewess torn between true love, and loyalty to her family and tribe and ultimately her Holocaust religion.
The title of the movie is not ironic. Like I said, this is a movie by Jews, about Jews, for Jews. The first time Sarabeth takes an automobile trip to Simon’s home in Pennsylvania from her cocoon of New York City, she is horrified that they have to pay a toll on the way. Things go from bad to worse when Simon’s sister’s fiancé has a Mel Gibson moment, getting drunk during a working class Pennsylvania BBQ and saying, “The Jews stole our technology and gave it to the Chinese,” which happens to be a 100% factual statement, and a pretty mild one at that. But Sarabeth is doubly horrified that the filthy goyim in Pennsylvania have any but worshipful thoughts about their Jewish masters. Simon yells at the sister’s boyfriend though he’s too kind and mild to really express anger, and then he starts profusely apologizes to Sarabeth. But Sarabeth’s deep seated paranoia about her spiritual inferiors is confirmed as she says to Simon, “If I wasn’t here you guys wouldn’t have yelled at him! You’d be laughing along! You probably say this kind of stuff all the time!”
Sarabeth has recently graduated from some New York City College with a degree in art. Simon Stanton was her classmate, and the movie opens with Sarabeth making a feminist painting and then noticing that Simon is interested in model rockets. She comes over and asks him about his model rocket and expresses mild contempt for his useless and meaningless hobby that pales in comparison to her feminist paintings. Of course! Space travel versus feminist paintings, can you even imagine it! What’s she doing with that immature goy boy? And then there’s the unspoken symbolism of Simon’s rocket – it’s Nazi technology! SB is marrying into Nazis! Watch out, nice Jewish kids!
There’s Sabbath dinners with the kvetching Jewish parents who are battling Sarabeth because she has to either marry a rich Jewish guy or get a real job, while Sarabeth is moaning that she has to live in Brooklyn while she really wants to live in Manhattan. Her parents constantly remind her of her Holocausted aunts, Sara and Beth, to make her feel guilty and bring her back into the Jewish fold. Sarabeth’s moral dilemma is solved when the subject of her paintings switches from garish paintings about the evils of patriarchy to garish paintings of her Holocausted aunties, Sara and Beth. Her feminist paintings had been rejected by the art world; but then she has an exhibition of Second Generation Holocaust survivor paintings and her show is somewhat of a success. So when she changed her subject from the universalist subject of feminism to the particularist subject of Judaism/Holocaust, she finds her artistic muse and begins her career as an artist in earnest.
The successful exhibition of the Holocausted aunties is also the turning point of the film when Sarabeth realizes she must reject the voluntary Holocaust of interfaith marriage to a model rocket hobbyist Irish crypto-nazi from Pennsylvania. Sarabeth and Simon have their ups and downs as couples do, and then Sarabeth decides to make a trip to Pennsylvania to see Simon. But as she approaches the tollbooth, she hears the voice of her grandmother, “Sarabeth, if you have a choice to follow your heart or follow your stomach, then follow your stomach. Don’t do something that makes you feel sick.” Sick with Jewish guilt, that is, as well as fear and paranoia about the unknown goyisch world outside of New York City. The Tollbooth, as the movies title, is the turning point where the Jewish girl must decide. After all, she can’t remain ambivalent while paying a toll, and then if she changes her mind after the Tollbooth, she’ll have to pay the toll again, without even having done what she came to do – visit Simon! Ultimately, the message is that Simon the Irish goy boy wasn’t even worth a 2 dollar toll! If it wasn’t for the tollbooth, she might have found herself in Pennsylvania after all!
So Sarabeth turns around and goes back to her cocoon just before the Tollbooth, and lives Jewishly ever after. The non-Jews in this movie are mere props for Sarabeth’s journey back to her Jewish tribe after her rumspringe period dabbling with universal things like love and feminism. Through the whole movie, Simon Stanton is actually a perfect gentleman, guilty of nothing more than being a Gentile and liking model rockets. He helps the Jewish women in the kitchen and dutifully puts on some silly looking headgear at their Sabbath dinner. If Simon were less than perfect, maybe the audience would expect Sarabeth to break up with him for some other reason than being a non-Jew. The message of the movie is this “Even the best of the goyim are not fit to intermarry with.” Or to pay a toll for.
Great review. What’s good for the Jews is good for the Goyim. Mel Gibson should make a movie about a blonde-haired, blue-eyed girl from the countryside named after female relatives who fell victim to anti-White violence, who heeds her family’s advice and decides not to be in a relationship with a Negro. It could be called “40,000 Years”. If a tollbooth separates Whites from Jews, 40,000 years separates Whites from Blacks. Or “Look Who’s Not Coming to Dinner”. Or “Save the Last Chance”. Or “AIDS Fever”.
Excellent comment, Morphy. I’d like to see Mel do that movie too! 40,000 years! LOL.
Also, your review makes it clear that Jews identify all Whites with 1930s European Nazis – even Irish-Americans in the 21st century! No wonder they engage in assymetrical warfare against all Whites via the courts, movies, print and TV news, and politics. They blame all of us for the Holocaust. As the character Shoshanna said in Inglourious Basterds “This is the face of Jewish vengeance!”. And White Americans who defeated Germany in WWII are not spared.
This evidences the Jewish double-standard! There cannot be even inter-ethnic mixing between the Jews and us White Gentiles, even outside the Homeland. Yet, the same Jews force inter-subspecies mixing down our throats, to the point of us being miscegenated out of existence.
Well said. They’re totally paranoid and their hatred of their host peoples always ends up being a self-fulfilling prophecy. Read Belloc on this; he’s brilliant and fair.
Incidentally, if they just stuck to their own kind like Armenians or Greeks and didn’t demand everyone else intermingle, it wouldn’t be the end of the world. But, unlike Greeks, Armenians, and aother groups, they’re not content to be a genial minority; they have a will to run things well beyond the requirements of mere survival.
The Jews are a a dying people. The new generations are doing exactly what this movie warns against.
Hahaha, I hope you’re right Nietzsche! What poetic justice, for them to be intermixed out of existence while they advocate that for us!
It’s an unintentionally funny movie, for those who get the JQ.
The Jews are a dying people. The new generations are doing exactly what this movie warns against
The diaspora outside Israel does have high rates of intermarriage and assimilation, but they also have an ethno-state and orthodox organizations with political power that prohibit intermarriage/outbreeding and encourage procreation within their tribe. I support this for Israel if that’s what they want as an ethno-state, as I support racially conscious Whites emulating them in that regard. I think Mormons might still be doing a good job of maintaining their tribal identity and gene pool.
Also, I support all Whites becoming racially conscious, so I support all Whites avoiding miscegenation. For all the mockery Mormons receive at the hands of pop culture, their centralized Church has protected them against encroaching cultural Marxism, i.e. the Frankfurt School.
Also try THE DEVIL’S ARITHMETIC (1999)
http://www.imdb.com/title/tt0179148/
Some teenage “jewish princess”, oblivious about her Jewishness, and who thinks the same old boring stories of her Holocaust-surviving relatives suck, collapses at the family’s Passover feast, and wakes up time-travelled back to Poland 1940. The idyllic, happy Shtetl life gets soon interrupted by mean and ugly looking SS guards who completely out of the blue round up everyone and put them into concentration camps. The girl eventually gets thrown into a gas chamber, and the last thing she sees is the cold blue eye of some SS soldier gazing through the peephole of the gas chamber door. She wakes up in the presence, and realizes that she just had lived through her Great Aunt’s fate, realizes how bad it was not caring about the HolocaustHorrors and enthusiastically embraces her Jewishness. The final scene has her happily singing with her family some Yiddish or Hebrew songs, I don’t remember exactly.
Now that film, produced by Dustin Hoffman, is really as horrible as it sounds, but it is a perfect illustration how the “Remembrance of the Holocaust” serves as some quasi religious center for secular Jewish identity. To conjure up the demon of the Holocaust serves as a tollbooth ban to keep Jewish in-group-out-group-sentiment alive and kicking. (That paranoia works as some self-fulfilling prophecy.)
Perhaps to make this weird kind of stuff a bit more accessible to Goyims, they casted beautiful Kirsten Dunst of all people for the main part, who is half Swedish, half German, and looks as Jewish as, say, Brigitte Nielsen (I’m just glad they didn’t make her play Anne Frank as long as she was old enough.) That casting decision didn’t succeed though, the movie is a perfect pain to watch if you are a Non-Jew. But its sheer unabashed silliness and the look into the Jewish mindset it provides makes it a must-see.
A classic of Jewish self-satirizing is 1976’s “Annie Hall” with Woody Allen falling in love the waspish Diane Keaton. When he finally agrees to see her suburbian family (he also hates to go the country side because “they got the Manson family there”), where he encounters her, uhm say, “racially overconscious” Grammy Hall, in whose p.o.v. he looks like a bearded orthodox Jew. Next he meets Keaton’s brother, a very “Aryan” looking young Christopher Walken who confesses to him that he is some suicidal psycho. In one scene he sits at the family table and starts talking to the audience:
ALVY
(To the audience)
I can’t believe this family.
(Making chewing sounds)
Annie’s mother. She really’s beautiful.
And they’re talkin’ swap meets and boat
basins, and the old lady at the end of
the table
(Pointing to Grammy)
is a classic Jew hater. And, uh, they,
they really look American, you know,
very healthy and … like they never
get sick or anything. Nothing like my
family. You know, the two are like oil
and water.
And then he cuts to his own loud-mouthed, constantly quarrelling Jewish Brooklyn family…
More jokes about Jewish “White-o-phobia” recurr throughout the film. Running gags are that Allen’s character obsessively watches the three-hour documentary “The Sorrow and The Pity” about the Nazi occupation of France and feels constantly surrounded by “Anti-Semites”.
More from the screenplay:
ALVY
Right, right, so g-get back to what we
were discussing, the failure of the
country to get behind New York City is-is
anti-Semitism.
ROB
Max, the city is terribly worried.
ALVY
But the- I’m not discussing politics or
economics. This is foreskin.
ROB
No, no, no, Max, that’s a very convenient
out. Every time some group disagrees with
you it’s because of anti-Semitism.
ALVY
Don’t you see? The rest of the country looks
upon New York like we’re-we’re left-wing
Communist, Jewish, homosexual, pornographers.
I think of us that way, sometimes, and I-I
live here.
Another one:
ALVY
I distinctly heard it. He muttered under
his breath, “Jew.”
ROB
You’re crazy!
ALVY
No, I’m not. We were walking off the
tennis court, and you know, he was there
and me and his wife, and he looked at her
and then they both looked at me, and under
his breath he said, “Jew.”
ROB
Alvy, you’re a total paranoid.
ALVY
Wh- How am I a paran-? Well, I pick up on
those kind o’ things. You know, I was
having lunch with some guys from NBC, so
I said … uh, “Did you eat yet or what?”
and Tom Christie said, “No, didchoo?”
Not, did you, didchoo eat? Jew? No, not
did you eat, but Jew eat? Jew. You get it?
Jew eat?
ROB
Ah, Max, you, uh …
ALVY
Stop calling me Max.
ROB
Why, Max? It’s a good name for you. Max,
you see conspiracies in everything.
ALVY
No, I don’t! You know, I was in a record
store. Listen to this -so I know there’s
this big tall blond crew-cutted guy and
he’s lookin’ at me in a funny way and
smiling and he’s saying, “Yes, we have a
sale this week on Wagner.” Wagner, Max,
WAGNER – so I know what he’s really tryin’
to tell me very significantly WAGNER.
I have to say one thing some Jews are good at is poking fun at themselves and everything else under the sun, and the Coen Brothers and Woody Allen are absolute tops in this regard. Consider Annie Hall or A Serious Man. Honestly, if your’e the least bit aware of this issue, both can be quite funny!
Relatedly, I find the decline of the Western a sign of America’s utter loss of self-confidence and pride under the Culture of Critique since the 60s.
We’re going to start doing a lot of movie reviews down the road.
The Jews are a a dying people. The new generations are doing exactly what this movie warns against.
Jews have been a mixed race people for centuries so a little more miscegenation doesn’t change anything. In fact it probably helps them by multiplying their numbers and preventing a full blooded White child from being born by stealing a White spouse. They’re still Jewish and carry the same satanic DNA as a full blooded Jew, if there is such a thing. The Jews are branching out into Chinese, Japanese and Indian yids in their quest to take over the world. Jews are a clever and manipulative people. It’s possible this movie was made to make us think they think like that.
Jews have been a mixed race people for centuries so a little more miscegenation doesn’t change anything. In fact it probably helps them by multiplying their numbers…
In that case, WHERE ALL DA JEWESSES AT!?
Just kidding, I would never be so disrespectful towards another race’s women or any women, let alone promote that behavior among the lowliest humans toward an advanced race’s women. (For those who might be unaware, I was making fun of Mel Brooks’s anti-White comedy Blazing Saddles)
I see zero chance of Jews successfully working their way into Japanese or Han Chinese society in any meaningful way. George Soros tried with Japan and came back frustrated and embittered toward the Japanese. The Han Chinese are similarly very ethnocentric and intelligent. Jews might have some success mingling into Indian culture in greater numbers, due to their mutual anipathy toward Muslims, and the presence of the small but established Jewish community in India. But it’s more likely they’ll invite a few million Indians to the U.S. and build a special relationship with them here.
anipathyantipathyThe Jews aren’t “a dying people.”
Intermarriage can be part of a group evolutionary strategy, especially of a diaspora group that has been migrating and living among different civilizations for thousands of years.
Furthermore, Jews are always exaggerating the “demographic crisis” of Israel to gentiles, even though privately to themselves they suggest otherwise:
http://h2oreuse.blogspot.com/2010/02/global-warmings-demographic-impact.html
“Since urban lifestyles are detrimental for human reproduction, and no city is sustaining its population except by continuous reinforcement from the countryside, the implosion of Middle East population is becoming more and more probable. I think that about 2025 Jewish population growth in Eretz Israel will be larger than Palestinian Arab growth.”
http://h2oreuse.blogspot.com/2010/04/israels-demographic-reservoir.html
“Many political analysts wrote that Israel has lost the demographic race and it is condemned to Arab majority. They were all wrong.
Firstly, Jewish natural increase is growing. Today it is higher than any Western country and approaching our enemies.“
After all, why build alliances by offering your women when you can offer them the beautiful, dutiful goyische American women?
Relatedly, I find the decline of the Western a sign of America’s utter loss of self-confidence and pride under the Culture of Critique since the 60s.
Jews give themselves positive lessons in xenophobia, Holocaustianity, and ethnic loyalty, they give us Brokeback Mountain and Save the Last Dance. Needless to say watching any of these types of movies is brain poisoning, do something else with your time.
As far as Woody Allen (Koenigsberg) – style self-deprecating Jew “humour” goes, it is a sly pre-emptive strike: “See? We laugh at ourselves. We even HATE ourselves! So you goyim don’t need to(can’t) do it.” And as for Jew(esses) marrying outside the tribe, also a standard kosher technique. Through this (carefully measured) genetic exchange, Jews infuse their own corrupt DNA into the host population, and get some genetic-visual camouflage for themselves; see for instance the current crop of half-Jewish Hollywood bims: Scarlett Johansson, Paltrow, etc; other raw examples at [[boobpedia.com]]; click “category”, click “Jewish”. If you track these things, most of the half-Jew offspring then marry back into the tribe. There’s an insightful thread on this at [[http:www.vnnforum.com/showthread.php?t=89051&page=3]]
All this aside, HWs idea of movie reviews, esp. Jewflix, is an excellent one. Jewmovies are confessional repositories of evidence on the Jewish Problem. Among my favorites and possible reviews: Exodus, Zelig, The Betsy, Miami Rhapsody, Heavy Metal (kidnapped Pentagon Jewess episode), Kafka, The Pawnbroker, Bugsy, Once Upon a Time In America, and so on.
I make it a point to avoid watching anything from Hollywood.
It is all of it pernicious anti-White mind poison.
Kookie-removal alert!
Roach,
Incidentally, if they just stuck to their own kind like Armenians or Greeks and didn’t demand everyone else intermingle, it wouldn’t be the end of the world. But, unlike Greeks, Armenians, and aother groups, they’re not content to be a genial minority; they have a will to run things well beyond the requirements of mere survival.
I take it the vague phrase “wouldn’t be the end of the world” means you wouldn’t have had a problem with them, just like you presumably don’t have a problem with Greeks or Armenians. But that’s not what America’s early racialists thought. They were just as much interested in what Jews (and Greeks and Armenians, among others) were as they were by what Jews or anyone else was doing. It’s competely disigenuous to pretend otherwise.
And weren’t Greeks, Armenians, Italians (most of them) competely on board with the “Jewish program” for the past hundred years, even if some of them are expressing misgivings today? Please. Roach, you really need to get your story straight, both in terms of what you think is wrong with America and what you think is necessary to set it right. All else is just talk, meaningless prattle. It really is.
Bernard,
Intermarriage can be part of a group evolutionary strategy, especially of a diaspora group that has been migrating and living among different civilizations for thousands of years.
Well no, Bernie, it can’t. If racial extinction via genetic submergence is racial exctinction via genetic submergence for you it’s racial extinction via genetic emergence for everyone (ie for every such identifiable group, despite the fact that you immediatedly run into problems attempting to define such groups sto start with). Otherwise, just find a way to bring yourself to admit that Jews aren’t really a race (“Satanic” or otherwise) despite the fifty years of wasted effort you’ve invested into claiming it.
Morphy,
Just kidding, I would never be so disrespectful towards another race’s women or any women, let alone promote that behavior among the lowliest humans toward an advanced race’s women.
Racial lunatics that retroactively pass judgment on the entire course of world history are ten a penny. “Never be so disrespectful”…pffft. But hey, keep it up feller; if you wanna turn any passers by off racialism, by all means, keep presenting yourselves as psychopathic losers.
Silver, I don’t really care what America’s early racialists thought. Earlier Americans were concerned about groups to the extent they fit in, got with the program, conformed to American mores, and respected America’s majority. Further, other societies–Ottoman Turks, the Austro-Hungarian Empire–had various minorities, but some were clearly more troublesome than ohters.
I think turn of the century immigration, particularly of Russian Jews, has turned out to be a huge problem and a huge mistake, and I think masive Third World immigration has turned out also to be a huge problem and a huge mistake. That said, some groups behave worse, change the societal dynamic more, and are less assimilable over time than others. I think small numbers of immigrants can be assimilated over time, particularly various non-Nordic European Christian groups, who have assimilated significantly.
Silver,
Thanks for diagnosing me as a psychopath. How much do I owe ya?
I think Silver is about 18 years old and has a modest IQ, perhaps 120. Not interesting, plus bad manners.
PS “Silver,” is not exactly the kind of moniker one typically gets around here, unless it’s tongue in cheek.
i hadn’t heard of this film. what this review doesn’t explain is why these people would be attracted to each other in the first place. from what i have observed, jews are attracted to non-jews out of a deep wish to escape the confines of jewishness. and whites are attracted to jews out of a feeling their own home culture is confining or boring. when a jew and a white meet this can be very exciting time for both, because they have certain things in common, usually common interests like books or ideology or music, and a common ability to converse, but also they come from exotically different cultures. that leads to a lot of fun and good sex in the beginning. i’ve also never heard of jews dating whites considering the whites they are dating to be “nazis,” at least while the relationship is going well.
i’ve also never heard of jews dating whites considering the whites they are dating to be “nazis,” at least while the relationship is going well.
Yet in the film in question, Holocaust imagery is utilized ultimately to dissuade a young Jewish-American woman from dating a young White-American man. I find the made-for-Jewish-consumption film, as reviewed, more telling of a doctrinal spirit than anonymous anecdotes (or lack thereof).
I’ve always seen Woody Allen’s movies as being made for a New York City audience, Speilberg is the one who makes Jewish movies for brainwashing the average Gentile. Woody Allen films don’t exactly “play in Peoria” whereas whenever Speilberg churns out a film about a kindly Jewish Violinist, or a wonderful extraterestrial dealing with Aryan bigots, the film is promoted on every news and talk show as “must see” for all. I do have to say though, Kyle’s neurotic Jewish cousin on South Park seems to be a parody of Woody Allen.
Non-gentiles readily make fun of themselves in their films. The typical spin is that they’re harmless. History and the collective unconscious is packed to the eyeballs with nasty non-gentile “stereotypes” like “slumlord” but they’re never the focus of films.
Silver,
You’re a dumb shit.
By “intermarriage” I don’t mean each and every individual of a particular group interbreeding with a member of an out-group in each and every generation.
Comment #26: 120 is a modest IQ? Wow! That must be a very high standard in IQ.