Rick Dean
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The Lord of the Rings's GIMLI speaks up for the West
Editorial by Neil Camberly
Since THE FELLOWSHIP OF THE RING debuted two years ago, egalitarians around the world have whined endlessly about the “racist” and “fascist” nature of Peter Jackson’s THE LORD OF THE RINGS films. With a few exceptions, Jewish film critics have relentlessly derided each installment of the trilogy as “simple-minded,R
1; “unimaginative,” and “boring.” In general, they hate the whole thing. The few young egalitarians that can’t help marvel at its spectacular cinematographic achievements debat
e th
eir co-ideologues in vain. With the final film in theatres and remarkable pro-White comments made recent
ly by one of the film’s main actors, its egalitarian defenders-in-denial may as well throw in the towel; the whiners are right.
The very first film raised the eyebrows of everybody who appreciates the important role the entertainment media play in subconsciously shaping the world perception of a vast portion of the global population. J*ws and ideological egalitarians hated to see a group of heroes manage anything heroic without the help of non-Europeans. They hated even more to see images of culturally rich communities somehow manage to exist at all, let alone flourish, without the cultural “enrichment” they claim European culture needs and luckily receives from Asian and
African immigrants. And they hated most of all to see the features of such immigrants appear in the film only in the faces and manners of the evil, genetically pre(mis)disposed Orks and Uruk-Hai hordes.
And, as usu
al, all of this hatred was manifested in shrieks of ‘racism!’
But the films ar
e “fascist,” too. They hold up beauty as something inherently good, and ugliness as something inherently bad. Their heroes are strong men and women of honor, decency and moral character. The films glorify ethnic collectivism and nationalism, self-sacrifice on behalf of one’s biological community, and courage in the face of overwhelming odds and overbearing evil. Like the 20th century's Fascist philosopher-kings, Tolkein’s Kings spend little time taking votes from their nervous soldiers and citizens over whether their kingdoms should perish with honor or perish with each man desperately trying to save his own skin. But most of all, the films earn their “fascist&#
8221; credentials by clearly delineating good and evil in the tradition of Western literature’s great adventure stories. Sure, Treasure Island’s Long John Silver was a hero made more inte
resting by his lack
of a few scruples here and there. But films with the spirit of Jackson’s trilogy have
been unarguably the exception, not the rule, at least since Oliver Stone had us laughing as Woody Harrelson blasted a sport cyclist off of his bike with a twelve gauge shotgun for no reason at all. Hollywood does little these days to conceal its glorification of absolute depravity, even if that wasn’t Stone’s intention.
But Peter Jackson is no Hollywood director, and he avoided the real pressure to ‘diversify’ his second and third films of the trilogy by filming all three simultaneously. Egalitarians weren’t very pleased with George Lucas’ 1977 film STAR WARS, for many of the same reasons, and it was no small inconvenience to Lucas that he was pressured to
cast Colt 45 Malt Liquor spokesman Billy Dee Williams as Lando Calrissian in THE EMPIRE STRIKES BACK. Still, considering the nature of the film industry of late, one can only rightly assume that h
eavy pressure to multiraci
alize LOTR was put on Peter Jackson before he even began filming. Perhaps he had no pr
o-Western, ideological motives at all. Perhaps he merely convincingly argued that black Elf warriors would have been even more cheesy and ‘90s’ than that goofy black Vulcan they have on one of the myriad new child-minded STAR TREK shows.
Or perhaps not. The final film, an utterly surreal masterpiece, sent a significant message by concluding with a battle whose heroes were exhorted to fight with a line Peter Jackson could have easily left out of Aragorn’s script: "By all that we hold dear on this Earth I bid you stand, men of the West!" Controversy has ensued. It is all over the net. And now it is exacerbated by a development that gives the strongest hint yet that
LOTR may indeed be a trilogy that consciously expresses the spirit of our people.
From the BNP’s Steve Blake, we get news that John Rhys-Davies, the talented character actor who p
layed the axe-wielding Dwarf Giml
i, (Rhys-Davies is actually over 6 feet tall, as he appears in RAIDERS OF THE LOST ARK), used
the Hollywood premier of THE RETURN OF THE KING to express some views that undoubtedly left many of his Hollywood colleagues (but certainly not Mel Gibson) shocked and terrified.
The following quotes do more than shed light on the attitudes of those behind the LORD OF THE RINGS trilogy. That they were made with confidence to the senior enemies of our civilization on their most secure territory illustrates a most important truth we must understand at this point: The postwar age of Jewish media monopoly is OVER. Prior to a few years ago, they were able to erode our morale and sap our strength by ignoring us or painting us as mere freaks to be trotted out on talk shows. The final nails
have been hammered into the coffin of this horribly effective weapon they had against us.
The tide is turning. Imagine the following words emanating from Hollywood ten years ago. It
would have been unthinkable:

220;There is a demographic catastrophe happening in Europe that nobody wants to talk about, tha
t we dare not bring up because we are so cagey about not offending people racially.
“You do realize that in this town (Hollywood), what I've been saying is rather like, sort of - oh well, I can't find a comparable blasphemy...
“But we've got to get a bit serious. What is unconscionable is that too many of your fellow journalists do not understand how precarious Western civilization is and what a joy it is. From it, we get real democracy. From it, we get the sort of intellectual tolerance that allows me to propound something that may be completely alien to you around this table....
"I'm burying my career so substantially in these i
nterviews that it's painful. But I think that there are some questions that demand honest answers.
"I think that Tolkien says that some generations will be challenged. A
nd if they do not rise to meet that challenge, t
hey will lose their civilization. That does have a real resonance with me.”
It has a resonance with the vast, land
slide majority of White people all over the world. That’s why they love Peter Jackson’s films, and that’s one of the reasons we are going to win.
The Lord of the Rings's GIMLI speaks up for the West
Editorial by Neil Camberly
Since THE FELLOWSHIP OF THE RING debuted two years ago, egalitarians around the world have whined endlessly about the “racist” and “fascist” nature of Peter Jackson’s THE LORD OF THE RINGS films. With a few exceptions, Jewish film critics have relentlessly derided each installment of the trilogy as “simple-minded,R
1; “unimaginative,” and “boring.” In general, they hate the whole thing. The few young egalitarians that can’t help marvel at its spectacular cinematographic achievements debat
e th
eir co-ideologues in vain. With the final film in theatres and remarkable pro-White comments made recent
ly by one of the film’s main actors, its egalitarian defenders-in-denial may as well throw in the towel; the whiners are right.
The very first film raised the eyebrows of everybody who appreciates the important role the entertainment media play in subconsciously shaping the world perception of a vast portion of the global population. J*ws and ideological egalitarians hated to see a group of heroes manage anything heroic without the help of non-Europeans. They hated even more to see images of culturally rich communities somehow manage to exist at all, let alone flourish, without the cultural “enrichment” they claim European culture needs and luckily receives from Asian and
African immigrants. And they hated most of all to see the features of such immigrants appear in the film only in the faces and manners of the evil, genetically pre(mis)disposed Orks and Uruk-Hai hordes.
And, as usu
al, all of this hatred was manifested in shrieks of ‘racism!’
But the films ar
e “fascist,” too. They hold up beauty as something inherently good, and ugliness as something inherently bad. Their heroes are strong men and women of honor, decency and moral character. The films glorify ethnic collectivism and nationalism, self-sacrifice on behalf of one’s biological community, and courage in the face of overwhelming odds and overbearing evil. Like the 20th century's Fascist philosopher-kings, Tolkein’s Kings spend little time taking votes from their nervous soldiers and citizens over whether their kingdoms should perish with honor or perish with each man desperately trying to save his own skin. But most of all, the films earn their “fascist&#
8221; credentials by clearly delineating good and evil in the tradition of Western literature’s great adventure stories. Sure, Treasure Island’s Long John Silver was a hero made more inte
resting by his lack
of a few scruples here and there. But films with the spirit of Jackson’s trilogy have
been unarguably the exception, not the rule, at least since Oliver Stone had us laughing as Woody Harrelson blasted a sport cyclist off of his bike with a twelve gauge shotgun for no reason at all. Hollywood does little these days to conceal its glorification of absolute depravity, even if that wasn’t Stone’s intention.
But Peter Jackson is no Hollywood director, and he avoided the real pressure to ‘diversify’ his second and third films of the trilogy by filming all three simultaneously. Egalitarians weren’t very pleased with George Lucas’ 1977 film STAR WARS, for many of the same reasons, and it was no small inconvenience to Lucas that he was pressured to
cast Colt 45 Malt Liquor spokesman Billy Dee Williams as Lando Calrissian in THE EMPIRE STRIKES BACK. Still, considering the nature of the film industry of late, one can only rightly assume that h
eavy pressure to multiraci
alize LOTR was put on Peter Jackson before he even began filming. Perhaps he had no pr
o-Western, ideological motives at all. Perhaps he merely convincingly argued that black Elf warriors would have been even more cheesy and ‘90s’ than that goofy black Vulcan they have on one of the myriad new child-minded STAR TREK shows.
Or perhaps not. The final film, an utterly surreal masterpiece, sent a significant message by concluding with a battle whose heroes were exhorted to fight with a line Peter Jackson could have easily left out of Aragorn’s script: "By all that we hold dear on this Earth I bid you stand, men of the West!" Controversy has ensued. It is all over the net. And now it is exacerbated by a development that gives the strongest hint yet that
LOTR may indeed be a trilogy that consciously expresses the spirit of our people.
From the BNP’s Steve Blake, we get news that John Rhys-Davies, the talented character actor who p
layed the axe-wielding Dwarf Giml
i, (Rhys-Davies is actually over 6 feet tall, as he appears in RAIDERS OF THE LOST ARK), used
the Hollywood premier of THE RETURN OF THE KING to express some views that undoubtedly left many of his Hollywood colleagues (but certainly not Mel Gibson) shocked and terrified.
The following quotes do more than shed light on the attitudes of those behind the LORD OF THE RINGS trilogy. That they were made with confidence to the senior enemies of our civilization on their most secure territory illustrates a most important truth we must understand at this point: The postwar age of Jewish media monopoly is OVER. Prior to a few years ago, they were able to erode our morale and sap our strength by ignoring us or painting us as mere freaks to be trotted out on talk shows. The final nails
have been hammered into the coffin of this horribly effective weapon they had against us.
The tide is turning. Imagine the following words emanating from Hollywood ten years ago. It
would have been unthinkable:

220;There is a demographic catastrophe happening in Europe that nobody wants to talk about, tha
t we dare not bring up because we are so cagey about not offending people racially.
“You do realize that in this town (Hollywood), what I've been saying is rather like, sort of - oh well, I can't find a comparable blasphemy...
“But we've got to get a bit serious. What is unconscionable is that too many of your fellow journalists do not understand how precarious Western civilization is and what a joy it is. From it, we get real democracy. From it, we get the sort of intellectual tolerance that allows me to propound something that may be completely alien to you around this table....
"I'm burying my career so substantially in these i
nterviews that it's painful. But I think that there are some questions that demand honest answers.
"I think that Tolkien says that some generations will be challenged. A
nd if they do not rise to meet that challenge, t
hey will lose their civilization. That does have a real resonance with me.”
It has a resonance with the vast, land
slide majority of White people all over the world. That’s why they love Peter Jackson’s films, and that’s one of the reasons we are going to win.