All that is good and beautiful

Michael Colhaze


Rivendell

Rivendell

A new Order is arising! We will drive the Machine of War with the sword and the spear and the iron fist of the Orc!
Saruman                                                                                  

The Shadow doesn’t hold sway yet. Not over me… not over you!
Galadriel

Some six years ago I saw the first part of Peter Jackson’s Lord of the Rings. Living in France at the time, my sons had flown in for Christmas and brought the whole trilogy along. We ran The Fellowship one evening but I, fairly drunk on red wine, happiness and much talk, found it a bit too polished for my taste and fell asleep half way through. I never saw the other two parts, didn’t think it a great loss and forgot about the whole thing. Until last week.

As readers may recall, I have written a rather fanciful addendum to Tolkien’s arrant epos. Which my wife translates presentlyinto Russian. She hasn’t read the original itself and thus asked me to dig up my old paperback for a general overview. Holding the weighty and much tattered tome in both hands, I wondered where to start, but then thought better of it and suggested the movie as a more convenient entrée. Since she was born in the former USSR and had only seen an extremely fuzzy pirate copy while a teenager, I found myself digging once again, this time through a box of DVDs that have somehow survived the furious purge triggered by my belated comprehension of how the hideous Hollywood hucksters manipulate our minds.

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We watched the whole trilogy during three evenings and I, sober this time, realized with surprise that my past reservations had been unfounded. The film rendered, a number of silly hyperboles apart, fairly exactly the subject matter of Tolkien’s epic tale. What is more, it radiated a distinctly human touch that I had always found missing in the novel, the latter being too heroically aloof in my opinion, both in style and in essence. The cast was well chosen and on the whole convincing, while the film’s general momentum generated sufficient suspense to stay wide awake. It was backed up by often breathtakingly beautiful landscapes and impressive digital trickery. The decorative features were remarkable, so different from the usual Tinseltown junk that comes across, at least in this genre, as either amazingly tasteless or implausibly fantastic. Rivendell might have been an art noveau designer’s dream come true, Lothlorien a glowing canvas in the Romantic taste, and Minas Tirith the soaring magnification of a Tuscan Renaissance city.

Particularly interesting, at least if seen in the present climate of toxic anti-White deconstruction, seemed the stronghold of Edoras and its great assembly hall. There the spectator is treated boldly to a display of unmistakable Germanic splendour and imagery, complete with magnificent blonde horsemen and a Lady Eowyn who looks as if she has stepped straight out of a Nordic saga.

Edoras

Edoras

It was here, while watching the evil counsellor Wormtongue whispering poisonous advice into the ears of a stricken king, that I felt compelled to leave the movie’s precincts and observe it from a position apart. Because try as you might, there appeared to be some essential features in its whole construct that clashed markedly with the never stated but always more obvious intent of the Spielbergs, Lucases, Bruckheimers et al. to discredit and vilify what we perceive commonly as the White Race and its unsurpassed culture.

Particularly Bruckheimer is much on my mind after I saw (and flung straight into the dustbin) his Déjà vu, an inane concoction so viciously racist as I have rarely come across in the past. It tells the story of a “White Supremacist” who, presumably after getting disgruntled with his tribe’s general decline, blows up a ferry boat for publicity and thereby snuffs out the lives of some 500 happy servicemen and their families. The outrage is set well into scene by Tony Scott, a seasoned screen quisling who loyally served his producer without qualms or moral restraints—perhaps giving rise to an emptiness of soul that resulted in his jumping off a bridge to end it all. A first taste of the flick’s general route is given when, after the dead and the debris have been fished out of the swirling waters, a trove of White cops turn out to be incompetent bunglers unable to get their act together. And thus leave it all to Denzel Washington who, clever devil that he is, quickly finds the essential clues by the river and so knows immediately what’s up.

Once I greatly liked this particular actor, above all his stunning performance in Man on Fire. But that was of course before Déjà vu. Where, in order to solve the case, more than mere deduction is needed. We need real genius! Thus we are introduced to young Danny, a latter-day Einstein of analogous kin who, based on Relativity Theory and supported by sips of a well-known power-drink, has invented a time machine with a few structural defects.

Sherlock Denzel squeezes his massive frame into the machine, slips back a few days and so catches our mass-murdering “White Supremacist” like a cockroach in the bathtub. Who turns out to be, and what else to expect, a miserable sod with words like honour tattooed on his neck. And who, even more miserably, cries tears when his Black interrogator, grandly but disgustedly, offers him a cigarette. All this before the latter sneaks once again backwards in time and thus reclaims, in a daft perversion of the magnificent Orpheus-and-Euridice myth, his wonderfully bronzed paramour from the hereafter. As for the terrorist, we can safely assume that he was eligible for a dose of lethal injection. A treatment recommendable, if we may believe those marvellously enlightened institutions like the $PLC or Abe’s Defamation League, for any potential terrorist with funny ideas about racial diversity or the survival of his or her incomparable Christian-European heritage.

Like you and me, for example.

Seen in light of the above, Jackson’s Lord of the Rings seems strangely and deliciously out of context. First of all, and with hindsight to the present routine, one stands dumbfounded by the fact that none of the movie’s principal heroes is of Afro-American extraction. Bruckheimer’s darling Denzel would have made a somewhat unlikely Frodo, it is true, even if digitally reduced in size. But what about the similarly enlarged Morgan Freeman as old Gandalf the Grey? A perfectly feasible prospect, you’ll agree, particularly if we keep in mind that Mr. Washington’s present screen impersonation of an immensely popular White airline captain who landed his stricken bird safely on the Hudson river has been swallowed by the dumb multitude without any hiccup. Or that’s at least what the mass media monkeys want us to believe.

As it is, the script and its cast stick firmly to the ethnic realities of Middle Earth. On one hand we see essentially Whitish folk, all of distinctly human structure, though varying in size. Who, some exemptions permitted, champion a superior set of ethics, cherish their honour and nobility of mind beyond everything else, and are heroic to the point of folly. In other words, they continuously put into effect Mankind’s highest possible aspirations as formulated by our great European novelists, poets, philosophers or mystics. And even if we are told of their different tribal backgrounds, be it the Elves who look and behave like quintessential Aryan epitomes, or Hobbits who live in the paradisiacal Shire and thus had no need to grow up, or Dwarfs who adapted to their subterranean fancies and became squat and strong, or Men who are just men, it is fairly obvious that they must be all of the same genus. Even more precisely, Men of the West! Because that is what King Aragorn calls all of his followers when he asks them in a truly rousing speech to stand firm while facing the might of the enemy.

Pitted against this phalanx of immaculate gallantry, probity and decency stands Sauron the Great, embodiment of everything that is Evil in the world. He commands an army of gruesome Orcs, once human themselves whom he corrupted and diseased and deformed out of recognition. The same is true of his Ringwraiths, former Kings of Men whose greed and stupidity tempted them to accept their own insignificant ring of power while paying for it with their souls and outer shells and eternal damnation. A few monsters who might have been bred in Monsanto’s secret dungeons are also part of the entourage, but those never venture any particular opinion and are just ghastly beyond belief. As for his allies, we see hordes of clearly Moorish lineage who eagerly intend to partake in the murder, rape and looting that has been promised to them. Lastly we have the wizard Saruman who abandons reason for madness by believing, just as old Rockefeller and his billion-buck buddies do nowadays, that Sauron will permit him to thrive as a privileged proconsul somewhere within the realms of the Evil Empire. Which is of course utter folly. Because there is only one Lord of the Rings, and he does not share power!

In short, and if this could be reduced to a single exemplary statement, we may say that the entire production is about one thing only, namely an epic battle between Good and Evil, and that the former emerges victorious in the end.

Indeed a sweet fantasy, you may say, but to what effect? Particularly if we keep in mind that present realities are quite the opposite, namely Evil being well on the advance wherever we look.

Now this brings me to the core of my yarn. Which, to begin with, notes that occasionally a work of great beauty and imagination can be found among the shallow junk, violent trash and pornographic garbage so incessantly churned out by the Hollywood schmucks. As in this case, where the director and his collaborators have clearly attempted to counteract the destructive propaganda machinations with an effort to re-vitalize the once cherished ideals of our great Christian-European tradition. Yet what I find most remarkable, even an Elven-star’s glimmer of hope, is the enormous impact the trilogy has had since its conception some ten years ago. If the Internet can be trusted, already in 2008 some two hundred million DVDs had been sold, a truly staggering number. As to the book, it has captivated by now a similarly astounding quantity of readers, namely two hundred fifty million (with The Hobbit included). Thus if we assume that many viewers and readers identify with the tale’s clearly defined heroes and, hopefully, their clear-cut codex of morals, the emotional and educational consequences must be vast.

This astoundingly subversive aspect of the film has been noticed by the usual suspects. Britain’s GUARDIAN, foremost mouthpiece of the great unwashed and just one more NWO pawn, ran a seething comment, while quite a few others aired their profound discontent at such blatant exclusion of the non-White global community. Yet the movie’s executive producer, whose only artistic merit, money apart, appears to be his ADL affiliation, either didn’t twig anything or didn’t care. Just like the Academy Award boobies who showered the epic conundrum with their silly Oscars. As it is, all those concerned seemed too brazenly self-assured, or just greedy, to fret about the massive kick into their backside.

And neither should we. Because as far as I know, nobody in the wide world gave a humid fart about Déjà vu’s hideous hint with the bargepole, namely that those Whiteys who still believe that honour is still a valid principle are all potential terrorists.

From the little I understand about secret under-currents within the attitudes of a given society, it is nevertheless enough to see that right now something rather large and dangerous is brewing. Subconsciously on the whole, for sure, but slowly developing form and essence. Because with mountains of uncensored and very outspoken information on hand, it becomes increasingly easy to draw parallels between Tolkien’s tale and today’s realities, to authenticate the present-day Orcs and their masters by way of indisputable documentation. In other words, many people, young and old, begin slowly to understand who exactly the powers are that try to enslave us all. Or see clearly, as one of the Hobbits observed so fittingly, who wants to destroy all that is good and beautiful.

Let me conclude this piece with Samwise Gamgee’s answer to Frodo when the latter, bogged down by the burden of the terrible ring, wants rather despairingly to know what we are holding on to.

That there is still some good in this world, and that it is worth fighting for!

Michael Colhaze’s website: http://michael-colhaze.biz/

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30 Comments to "All that is good and beautiful"

  1. December 26, 2012 - 11:11 am | Permalink

    Michael:

    What you describe above as your “fanciful addendum” was one of the most stunning, lyric pieces that have ever appeared at TOO. In fact, I confess that your 2010 article “Lords of the Rings” is my favorite of all I have seen here. It moved me to purchase a handsome, hard-cover edition of the novel together with the audio-book.

    These are some of my favorite passages I highlighted after reading it:

    “I wish it need not have happened in my time,” said Frodo.

    “So do I,” said Gandalf, “and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.”

    ____________________________

    “From the ashes a fire shall be woken,
    A light from the shadows shall spring;
    Renewed shall be blade that was broken,
    The crownless again shall be king.”

    (I fancy these words as the West recovering its self-image and self-esteem and finally fight like our ancestors)

    ____________________________

    “The Sword of Elendil was forged anew by Elvish smiths, and on its blade was traced a device of seven stars… And Aragon gave it a new name and called it Andúril, Flame of the West.”

  2. December 26, 2012 - 12:26 pm | Permalink

    If I am not mistaken, Tolkien was a devout RC, and was criticized for his works. The criticism was that his works would popularize the dark arts, to which he countered that his works were about good and evil, and that he was on the side of good.

    As for the “whiteness” of the cast, it only makes sense, doesn’t it? The movie is more believable, unlike some of the recent movies on Norse mythology that have cast gods like Heimdall, who guards the Rainbow bridge, with Negros.

    As an aside, while watching the Concorde College Christmas Eve concert on the local PBS station, the absence of Negros was stunning. I recall seeing only two in the very large (and talented) choir and orchestra. It was like being in a time warp, and was very enjoyable – on many levels.

  3. Dan's Gravatar Dan
    December 26, 2012 - 2:00 pm | Permalink

    It has been regularly derided as racist by the PC press, so I guess it ought to be claimed by
    Race realists in some way.

    I understand that the Dwarves are claimed by the Jews though, in the Hobbit, do even they want a piece of the action. No blacks are in the Hobbit as of the first installment (except those Orc beasts)

  4. celtthedog's Gravatar celtthedog
    December 26, 2012 - 2:09 pm | Permalink

    A very intelligent — and enjoyablye — essay on the Lord of the Rings (the film). My only concern is that we’re looking back to a book written by a First World War veteran (!) over half a century ago.
    Pretty much all books worth reading at that time contained all-white characters. Can anyone here name a fantasy/historical novel in the same league as Tolkien’s with an all-white cast of characters?
    On perhaps too many levels, Tolkien is an exercise in nostalgia. And that will only get us so far.
    No offence to the author of this wonderful piece, J.R.R. Tolkien (from whose works I studied Anglo Saxon) or the latter’s fans, intended.
    P.S. Tolkien although British, was actually born in South Africa (then a British Dominion). I’ve always thought that had an impact on his world view.

  5. celtthedog's Gravatar celtthedog
    December 26, 2012 - 2:11 pm | Permalink

    @celtthedog:

    I should have added “contemporary” fantasy/historical novel in the same league as Tolkien’s….

    Apologies.

  6. mari's Gravatar mari
    December 26, 2012 - 2:23 pm | Permalink

    Hobbit stories, LOR and other Tolkein tales were drawn from the nordic and scandinavian sagas oral history going back 15,000 to 20,000 years when the blonde and red haired Whites of eastern China and central asia migrated west to central and western europe because of the advances of the han and mongolians.

    We didn’t stop going until we got to the farallones, the western isles, iceland, Greenland, and America all the way to Polynesia.

    The Rohan people were a lot like American Whites 100 years ago before jewish control became complete. Wormtongue, the evil prime minister who was secretly in league with the goblins was obviously a jew who symbolized what jews always do in every society on which they prey.

    But that Rohan princess fought against him and won. We just succumbed to the jewish wormtongues.
    We were the greatest. Now we are the losers of the planet, due entirely to the wormtongues in political, economic, religious, academic from nursery school to PHD and most
    of all cultural.

    I’m of the hippie generation that fell in love with those books. I think a lot of it was our White western heritage speaking to us through the books.

    We are much like the elves who are leaving the middle earth paradise we created that is being destroyed by the immigrants from the palest blondest russian to the darkest african.

    When LOR 1 and 2 came out the liberal reviewers were nasty about the movies because they were so “White” Well they were. My favorite character was that princess of the
    Rohan stepp horse people. Instead of doing what White women do today and working with the goblin army to destroy her people, she fought both politically and as well as she was able in the battle.

    Loved the color scheme of dark green trimmed with gold of the rohan people.

    Very irish don’t you think Tom?

  7. December 26, 2012 - 4:12 pm | Permalink

    what we need a revival of all the european mythologies, gods, goddesses, nordic, anglo saxon, celtic, germanic, russian, scythian etc.

    we must immerse ourselves completely in our heritage.

  8. fender's Gravatar fender
    December 26, 2012 - 4:17 pm | Permalink

    From a racial perspective the LOTR movies are more interesting than the books because of the filmmakers’ refusal to bow before the rules of diversity. In Tolkien’s time all Western writers wrote about Whites. Tolkien was no racialist, he was simply doing what was to be expected from a writer of his time.

    The filmmakers staying true to Tolkien’s vision at a time when anti-White hatred has reached a crescendo, however, is interesting. I don’t think the filmmakers are racialist at all, but it does show that they don’t place any importance on diversity casting (i.e. non-Whites in inappropriate roles).

  9. bob sykes's Gravatar bob sykes
    December 26, 2012 - 4:50 pm | Permalink

    LOTR is becoming a White, Christian hymn.

  10. celtthedog's Gravatar celtthedog
    December 26, 2012 - 5:02 pm | Permalink

    @sanjay: ambitious, but I agree.

  11. torgrim's Gravatar torgrim
    December 26, 2012 - 5:18 pm | Permalink

    @fender: “but it does show that they don’t place any importance on diversity casting (i.e. non-Whites in inappropriate roles).”…. Exactly, such as casting the Guard of the Rainbow Bridge, Heimdall (the whitest of the Gods), with a Negro. It just goes to show how the control freaks just can not stop their pathology, truly a mental disorder in my opinion.

  12. zvetlux's Gravatar zvetlux
    December 26, 2012 - 5:25 pm | Permalink

    You have a beautiful vision! There is a big plus on the side of our race – we help our friends, specially those ones who are able to create masterpieces. And You Michael are one of the greatest White Wizards in our world!

  13. Bobby's Gravatar Bobby
    December 26, 2012 - 6:38 pm | Permalink

    @torgrim: They are mentally deficient. The problem is, despite their lunacy, they have the power and the money behind them. It’s been the case for quite a while now, that Hollwood movies, lose money. NO, not the movie stars, directors, producers,etc. They make big money. But Hollywood movies are financed with the same Wall Street gimmicks, that are used and that allow the insiders to make a killing and the investors to be left–OUT IN THE COLD, BROKE. It’s hard if your’e an investor to see this, because the financing is bundled with other “investements”. When one considers it all in the cold light of reason, you almost have to admire the deviou cleverness and creativity of these Wall Street criminals.

  14. Trenchant's Gravatar Trenchant
    December 26, 2012 - 6:41 pm | Permalink

    What’s even worse is that next generation of Bruckheimers seems to ignore even basic set protocol and discipline their talent. The clack-board says it’s cameras rolling, shut up, and assume your persona.
    http://is.gd/F9OH6J

  15. Richard's Gravatar Richard
    December 26, 2012 - 7:39 pm | Permalink

    Thanks for writing about The Lord of the Rings trilogy.

    Those movies really helped me when I was down, and I agree that there is definitely a pro-White spirit in them.

    I sense their impact on our society and culture is great, and much-needed.

    Since this article mentions beauty, I want to include one criticism — Liv Tyler as Arwen. She is not classically beautiful. That sounds harsh. And as far as I know, it’s merely my opinion. (But I figure I’m not the only one who feels that way.)

    Physical beauty is important. Some of the girls I went to school with were/are so beautiful and inspiring. They are more beautiful (and adorably cute) than any celebrity or model. And they are a big reason why I’m here on this site.

    I’m not homosexual, but I appreciate handsome (beautiful) men also. It’s not a sexual thing. There’s something comforting and encouraging about seeing beautiful people. They deserve a special place in society.

    (I’m not a physically beautiful person myself. And I accept that.)

    A person is much more than their physical appearance; I understand that. But it is still important.

  16. Suburban_elk's Gravatar Suburban_elk
    December 26, 2012 - 11:36 pm | Permalink

    Tolkien was entirely conscious of the process of myth-making. His own stories were written for himself and his children and his friends – his people. He probably had no idea that they would be so needed.

    He thought that stories selected out the elements of truth from many imaginations, from the imaginings of thousands of story tellers over hundreds of generations, and thus became in their essence true.

    For example, in the re-telling of his stories, there is meaning because, well, they are true.

    It is the process of myth-making and ideas and heroism and prophecy, and all of these things are what white culture does not have and Tolkien is the one single main exception here, and there was a movie that had to be but the movie is one iteration and a pale one at that but that is ok and also beside the point because the movie got the tone right.

    Some commenters have said that the whiteness of his stories was merely a reflection of his times. Though that is true in a sense, in that those were a white time and place, it is really off the mark in suggesting that such whiteness in those tales was incidental. Tolkien was entirely conscious of where he was in his folkways.

  17. Vasili Bakagias's Gravatar Vasili Bakagias
    December 26, 2012 - 11:58 pm | Permalink

    Hail Victory!

  18. Suburban_elk's Gravatar Suburban_elk
    December 27, 2012 - 12:11 am | Permalink

    Not incidentally, the movie The Hobbit is no good. It is confused in its tone. Due to the success of the Lord of the Rings movies, and the heart-swell in the popular imaginations for Middle Earth, and the fact that The Hobbit was part of the original story, the moviemakers could not reduce its tone to a children’s story, though that was how it was written, and but they could not move away from that children’s story tone, either. Its overdone effects such as the scary orcs and wargs were caught between those two modes, as were the comic dwarves and the wizard Radagast.

    The movie’s failure in this regard – not finding the right tone – is a complete failure, and everything else about the plot and how it is told and the effects and the acting, is lost. If these Hobbit films diminish Middle Earth in the popular imagination, that would be tragic, and Hollywood’s joke, the last word, as it were.

  19. Daybreaker's Gravatar Daybreaker
    December 27, 2012 - 4:49 am | Permalink

    Just a reminder: in 2010 a casting agent who was looking for white people to play hobbits was fired for doing so.

    http://tinyurl.com/33o34bj

    The Waikato Times said video footage showed the casting agent telling people at the audition: “We are looking for light-skinned people. I’m not trying to be — whatever. It’s just the brief. You’ve got to look like a hobbit.”

    So if Peter Jackson and his team weren’t interested in making concessions to anti-white political correctness during the filming of The Lord of the Rings, they got with the program afterwards.

  20. December 27, 2012 - 11:21 am | Permalink

    @Daybreaker:
    Wouldn’t it be interesting to have a person with Nordic features be rejected by casting for the role of Desmond Tutu? Perhaps the “Briton” Naz Humphreys, who has Pakistani heritage, would not be upset if Malin Akerman was cast as Benazir Bhutto.

  21. blueriver's Gravatar blueriver
    December 27, 2012 - 1:04 pm | Permalink

    This is a pure classical writing!
    love love

  22. Pierre de Craon's Gravatar Pierre de Craon
    December 27, 2012 - 1:06 pm | Permalink

    @Suburban_elk: I feared as much from the TV promos. Thanks for doing the dirty work of reviewing. Thanks, too, for your insights.

    Besides demonstrating that you are, sadly, in the minority in comprehending what the true and proper purpose of Tolkien’s imaginative oeuvre was, a fortiori the proper function of all genuinely timeless literature, your other comment serves to underline a crucial point. Namely, that the nature of man is such that he can be led only so far and no farther in intuiting the general from the particular. Tolkien, preeminently, understood this aspect of literature’s, indeed all art’s, nature (his friend C. S. Lewis was one of many writers who didn’t). When, more than seventy-five years ago, young Christopher Tolkien and Rayner Unwin expressed delight in The Hobbit, it was the tale itself that excited them, that made them ask for more stories and information about hobbits. The imaginative and structural progression of LotR from The Hobbit parallels the boys’ own growth from childhood to adulthood. The desire, indeed the need, for a story rather than a lecture or a lesson did not change, in them or in anyone else; it simply grew in an age-appropriate fashion. Tolkien gave them—and not coincidentally, all of us, by allowing the universal to emerge at its own unhurried pace from the particular and the public dimension from the private and particular—a yarn that was far more complex yet even less didactic than The Hobbit and far richer in signification precisely because it refused to lay claim to any such thing as richness or “meaning.” (The Silmarillion goes even farther in this direction, but like a late drama of Sophocles, it is a tale simply too grown up for most people and most epochs, our own included.)

    The didactic impulse succeeds best when its purpose is inculcation of multiplication tables or the kinds of mental and physical coordination required to bring the bat into contact with a curve ball hurtling in one’s general direction. Pace fender and others, expecting art and literature to dance to this tune is to confuse pearls with ball bearings. Our people, who have already lost any and all comprehension of the joys of art music, will be neither instructed nor edified. Put plainly, neither The Hobbit nor LotR will do much better than a hammer when a screwdriver is the required tool.

    The value of Michael Colhaze’s article (and of your comment) is that it doesn’t require agreement with any of its particulars to leave one with the distinct impression of having been reminded—in an almost happenstance fashion, as if one overheard an extraordinarily enlightening conversation—of things already known but temporarily obscured by the hustle and bustle of daily activity.

  23. Pierre de Craon's Gravatar Pierre de Craon
    December 27, 2012 - 1:14 pm | Permalink

    @Pierre de Craon:

    Corrigendum: “… and the public dimension from the private and individual …”

  24. Pierre de Craon's Gravatar Pierre de Craon
    December 27, 2012 - 2:22 pm | Permalink

    @Pierre de Craon: Yet another correction, one not blamable on simple oversight:

    “Put plainly, neither The Hobbit nor LotR will do much better than a screwdriver when a hammer is the required tool.”"

  25. arthurdecco's Gravatar arthurdecco
    December 27, 2012 - 3:28 pm | Permalink

    Mr. Colhaze,

    You leave me breathless when you write. And I have always respected your thinking.

    I pray you continue to inspire us all in our battles against darkness.

  26. December 27, 2012 - 8:33 pm | Permalink

    @sanjay:

    “what we need a revival of all the european mythologies, gods, goddesses, nordic, anglo saxon, celtic, germanic, russian, scythian etc.

    we must immerse ourselves completely in our heritage.”

    O.R.I.O.N – Our race is our nation.
    ………….
    Jack’s War

  27. Bobby's Gravatar Bobby
    December 27, 2012 - 10:26 pm | Permalink

    Breaking news from Philidelphia, the birthplace of freedom or whatever. 51 high schools to give out free condoms……………2012….in the U.S. where we keep preaching morality to other people in the world. O…K…

  28. Lance Madrid's Gravatar Lance Madrid
    December 28, 2012 - 11:24 am | Permalink

    Dear Michael,

    A fine, fine article… And this was my first reading of the breathtaking addendum as well, which must be closely read and widely shared. Bravo!

  29. A commenter's Gravatar A commenter
    December 29, 2012 - 2:36 pm | Permalink

    Good review. The beautiful imagery and general themes in the LOTR universe is strikingly European, and borrows heavily from Norse and Celtic mythology. Compared to most other Hollywood films, these are like a jewel in an ocean of garbage. LOTR isn’t necessarily racialist (Tolkien wasn’t one), but it doesn’t need to be – the aesthetic of Tolkien’s universe is enough. It’s also interesting how LOTR goes against the ugly post-modern spirit that otherwise pervades Hollywood cinema. Roger Scruton’s documentary about beauty is a must-see on his point.

  30. Richard's Gravatar Richard
    December 30, 2012 - 3:57 pm | Permalink

    @A commenter:

    “Roger Scruton’s documentary about beauty is a must-see on his point.”

    Here is a link for those who haven’t seen it.

    https://www.youtube.com/watch?v=0amDwXHr0v4

    (The opening credits last about two minutes, and then Roger shows up.)

    Have a good Sunday, everyone.

Comments are closed.