Sunday, May 20, 2018

Movie Review: 'Brotherhood of Murder'

Hate is thicker than blood, says the jew-spew tagline on the video box.


And jewish bullshit is thicker than both, retorts reality.

Intro

Imagine: It's late 1983, early 1984. The place, America. Ronald Reagan has just begun his second term as President. Prince, Boy George, and the "heartland rockers" Bruce Springsteen, John Cougar Mellencamp, and Tom Petty are in heavy rotation on FM radio stations across the country. No sooner than we were finished mourning the death of Darth Vadar in 1983's "Return of the Jedi," we were laughing along with newborn superstar Eddie Murphy in 1984's blockbuster, "Beverly Hills Cop." Though the cinematic transition from the Dark Lord to the Grinning 'Groid may have been a coincidence, its symbolic importance -- the very semblance of Aryan rule in America giving way to no-holds-barred, jew-led black aggrandizement and white replacement -- would not have been lost on The Order Bruder Schweigen. While the rest of us were at the movies laughing along with the jewish murder of America, The Order was plotting to take their country back.

The Story

Robert Jay Mathews, a young, bright, and charismatic working-class whte man formed The Order Bruder Schweigen (the "Silent Brotherhood"), a ballsy cadre of race-conscious whites who spit in the face of Reagan-era yuppiedom and waged war -- real war, with guns and bombs -- on ZOG. Their main objectives were to combat the jew-instigated genocide of white Americans, and to secure an Aryan bastion in the Pacific northwest. Within the span of one year, they were alleged to have committed robberies in excess of four million dollars, assassinated leftist radio host jew Alan Berg, counterfeited Federal Reserve Notes, and formed various counter-military training cells.

In December of 1984, the battle came to a head. With information supplied by the craven traitor Thomas Martinez, federal military forces murdered Robert Mathews at a Bruder Schweigen safe house on Whidbey Island, Washington, and imprisoned the surviving members who remained true to the Brotherhood.

The Book

Before getting to the movie, a bit of background on the book that inspired it. Brotherhood of Murder was written by Bruder Schweigen turncoat/FBI informant, Thomas Martinez, in 1988, four years after Mathews wrote about him, in his last public letter to the Newport Miner, the Pend-Oreille County newspaper that had printed many of his letters in the past. Mathews wrote:


As for the traitor in Room 14 [Martinez], we will eventually find him. If it takes ten years and we have to travel to the far ends of the earth we will find him. And true to our oath when we do find him, we will remove his head from his body.

Unfortunately, the treason to be avenged would sooner lead to Mathews being surrounded and burned alive by the FBI. He fought to the very end, dying with machine gun in hand. Embedded in his badly burned chest cavity was a piece of molten gold -- Mathews' Bruder Schweigen medallion.

Martinez, on the other hand, lived not only to write his book, but to betray everything he supposedly had always believed in, and to commit an act almost as heinous and doubly as unimaginable as turning over for the FBI: sucking up to the ADL and Southern Poverty Law Center. In the book's acknowledgments he writes these words:


Two organizations that have long been courageous in battling bigotry...are the Anti-Defamation League of B'nai B'rith and the Southern Poverty Law Center.... My best hope is that my contribution in the fight against racist terrorism will, in some small way, help theirs.

If that didn't empty you out, this next passage is sure to bring you to gut-wrenching dry heaves:

Morris Dees, the founder of the SPLC and its inspirational force, has been an inspiration to me, helping me define the meaning of the word courage.

There you have it. Pure egomaniacal moronicism at work. The same kind of psychological type we've witnessed more recently in the defection of George Burdi. This "type" of person must always "feel good" about himself no matter what he does. He lacks the intelligence needed to fully understand his "beliefs," as well as the fortitude to act in accordance with them long after the beliefs cease being "cool" or financially, practically, or emotionally rewarding. The inherent truth of one position over another is irrelevant; the value of a position rests solely in its immediate benefit to the individual. A passionate desire for the "14 words," for example, is virtuous and noble -- right up until johnny law puts you in the slammer. Or threatens to. Then, all of the sudden, confession to the media-forged moral majority and conversion to their state-approved way of thinking becomes the virtuous and noble thing to do.

True to form, Martinez does not acknowledge his cowardice or fallibility. He does not shamefully admit he rolled over on friends, kinsmen, courageous white men, for the sole purpose of avoiding jail. He does not confess that no matter how he feels about the particular members of the Bruder Schweigen personally, their racial views and grievances against the government are essentially true. And he does not draw the obvious conclusion that the power and determination of ZOG to crush the Bruder Schweigen underscores this very point. Rather, the moment it becomes convenient Martinez suddenly convinces himself that all the jewish caricatures of race-conscious whites are accurate: he was "brain-washed" and "looking for an excuse" and "needing to feel superior"; racism -- in whites -- is the product of "personal insecurity" and "irrational hatred." The criminal ADL and alleged child molester Morris Dees are suddenly paragons of virtue, fighting the good fight against -- not perpetuating their own anti-white version of -- "racist terrorism." The grossly disproportionate amount of black-on-white violence, coupled with the ironic enforcement of hate laws almost exclusively against whites, suddenly becomes irrelevant. The fact that jews opened America's borders and loosed blacks, mexicans, and all forms of third world non-whites on once safe, clean white cities suddenly is re-read as some sort of "paranoid white delusion."

The back of the book jacket features two "authoritative" quotes of praise -- one by ADL chairman Abraham Foxman and one by SPLC founder Morris Dees. Reflect for a moment and try to imagine yourself a year from now writing a book that Foxman and Dees would praise and that you, in turn, would use as a vehicle to champion them and their cause. Do you feel the shudder up your spine, or is it just me?

The Movie

Considering the source, there's little that needs mentioning about the movie. For me, it is genuinely thrilling to see a dramatic depiction -- any depiction -- of the racist right in action. Whether it's Randy Quaid in "Ruby Ridge: An American Tragedy" (1996), or Tom Berenger in "Betrayed" (1988), I simply love hearing the words "ZOG" and "jew" spit forth in derision from the lips of actors. The Bruder Schweigen story is exceptionally fascinating in this regard, packed as it is with action, adventure, and real American urban guerrilla warfare. But aside from the inherent interest of the story itself, there is nothing to recommend this film. Every aspect of it, from casting, to direction, to its gross distortions of fact, set out to smear Mathews and company as demented perverts, and their desire to restore a white-controlled jew-free America as the culmination of this demented perversion.

The casting of Peter Gallagher as Bob Mathews is telling. While Mathews is universally described -- even by generally unsympathetic sources like Flynn and Gerhardt's The Silent Brotherhood (The Free Press, 1989) -- as "warmly charismatic," "genuine," "sincere," "passionate," "uncommonly generous" and "friendly," Gallagher is the actor of choice to play distant, selfish, sinister, assholes. Whether it's in "Sex, Lies, and Videotape" (1989) or "American Beauty" (1999), he's the shallow, lying flake too blinded by his own vanity to realize everyone knows it but him. He comes off the same way here, as was no doubt the plan. Leaving nothing to chance, however, Mathews' sociopathic cruelty is hammered home with a series of fabricated smears:

  • The Order targets a porno store for its first robbery, because they see it as a social lesion resulting from the jewish disease; this much is true. As they rob it, an interracial porno plays on the monitor behind the cashier. After taking the money, Mathews tells the clerk that they'll be back and he makes clear that the clerk will not be spared next time if "that garbage" is playing when they return. In a scene shortly thereafter we see Mathews alone in his apartment, with his gun in his hand, watching a big mandingo buck hammer away at a pretty blonde girl from behind: presumably Mathews couldn't help but steal himself some "forbidden fruit" from the video racks during the robbery. The gun in his hand? I'll leave the interpretation up to you.
  • Mathews and his racist brethren gather in a diner. When the waitress asks what they'd like, Mathews orders apple pie and a glass of milk for everyone; this was, indeed, his favorite snack. One of the guys, Walter West, says that he cannot eat apple pie because it makes him sick. Faces all around the table stiffen. Mathews is incredulous: "But it's all American!" The waitress offers to bring West cherry pie instead and, like a good psychotic "neo-nutzi" hate-monger, one of the men barks at her to "bring him apple pie and milk like the man ordered!" The woman looks shattered by the verbal assault. Martinez and West -- the two humans among the evil Nazi animals -- are obviously uncomfortable, but are intimidated into keeping quiet and going along with it. As the men all eat their pie, West suddenly bolts from the table out the door where he's seen vomiting in the parking lot through the diner window. Martinez gets up to help West and one of the stone-faced Nazis sternly orders him to "sit down!" Mathews, the cold sadist, just smiles and gestures to Martinez to take a seat. 
  • Walter West is portrayed throughout the movie as a decent white man loyal to his friends, his race, and his nation. This makes it especially abhorrent when he is taken out to the woods and murdered by two of his trusted kinsmen (Richard Kemp and Randy Duey). While in reality West was a chronic drunk with a habit of bragging about The Order's activities to strangers, endangering the group and thereby the future for white children they were trying to secure, in the movie his murder is depicted as the result of cold blood and groundless paranoia.
  • During a picnic, Mathews humiliates his fat, gap-toothed wife Debbie. As she's shoveling food into her mouth, he tells her, "Put that down. Have some respect for yourself, woman." She looks like she's about to cry. Fortunately for the real Debbie Mathews, she wasn't a cow and Bob was not known to berate her like that.
  • Perhaps the grossest of all its lies is the depiction of Mathews as a child molester. Yep, a child molester, as if the film were based on the Morris Dees divorce court transcripts! In the movie Bob's mistress Zillah Craig is depicted as being an eleven- or twelve-year-old girl. She's shown to be an obsessive, almost zombie-like child who sits silently reading her Bible for hours and hours. Presumably Biblical lobotomization is what happens when bad parents deprive white children of state inoculation against "hate" via public school and daily televitz saturation. Anyway, except for Bob's dissatisfaction with his fat, gap-toothed wife Debbie, and his suggested sexual deviance, there's no explanation for why Bob wants to sleep with Zillah, a child he is never even shown talking to in the film. But all the sudden he pulls up to the Craig trailer, greets Zillah's mother, Jean, at the door, asks if Zillah is there and if he has Jean's blessing. Jean stoically responds, "It's God's will." Bob smiles, kisses her on the cheek, then enters the trailer, pulling the door closed behind him. Jean walks off with a look of deep, suppressed sadness on her face. Later, when Bob tells Martinez over the phone that Zillah's pregnant, Martinez is aghast, "Bob, she's just a kid!" "Nah," Bob says with a huge smile. "She's my concubine."

    The truth is that Zillah Craig was a 27-year-old mother of two when Mathews met her. By Zillah's account, far from Mathews being a lecherous ogre, he was courteous, gentlemanly, and initially shy. He was slow to making sexual advances toward her; they even slept together with their arms around each other a number of times without making love. Once they started, though, Zillah said Bob was the most vigorous, attentive, and inventive lover she'd ever had (The Silent Brotherhood pp. 119-122; 131). Bob was enthralled with Zillah's beauty, but he was also moved by a desire to "pass on his seed." His wife Debbie was barren. Though they adopted a baby boy, Clinton, whom Bob loved and cared for, he knew his war on ZOG meant he'd be killed or imprisoned and he wanted a child of his own blood. He got his wish. Zillah gave birth to a daughter, Emerant Mathews, in October of 1984. Two months later the proud new father would be burned to death on Whidbey Island by the United States federal government.

    The movie is strewn with all sorts of other distortions and fabrications about the men and motivations behind The Order Bruder Schweigen. The one thing the film did right, however, was to not apologize or romanticize blacks as noble victims of racism. Though in the book Martinez spews plenty of the ol' "there are good and bad in all races" canard (as the jews would say) to suggest that black hyper-violence is a figment the racist imagination, the movie does not feature any "noble negroes." In fact, apart from the afro-sheened ass-pounder in the black-on-blonde porno video, there are exactly two scenes in which blacks are the focus. In one scene, two young homeboys hassle and humiliate Martinez for being a janitor, as he mops a hallway. They mock him for doing "slave work" and kick his mop bucket. Desperately needing his job, Martinez sucks it up; he bites his lip and, as they walk away laughing, he continues mopping. In another scene, probably the best scene in the film as far as acting goes, Martinez encounters a black guy as he is going door to door distributing White Nationalist literature. The black guy is immediately rude and combative to the white guy knocking on his door (he does not know why Martinez is knocking, he's just being a rude, racist black). Martinez begins to shrink away. You can see he's instinctively recoiling, about to apologize, when he catches himself, and steels himself. A few brief seconds pass with Martinez just looking at the negro. He's not sure what to say, but you can see his confusion quickly sharpen into indignation. The negro, surprised that the silly honkey hasn't already run away in fear, snaps, "You gotta problem, man?" Martinez leans right into the negro's face and says, "Yeah. You bet I do. Man." He stares coldly into the brothaman's eyes then turns and leaves. Cracker Boy flipped the script on Ol' Banjo Lip, who, when confronted with a situation requiring original thought and words, is as stymied as, well... Stymie. 

    The Gist

    Brotherhood of Murder is a bad movie based on a worse book by a spineless stooge about a great and utterly fascinating group of white men, most of whom are now either dead or in jail. 

    Directed by Martin Bell (I)

    Credited cast:
    William Baldwin .... Tom Martinez 
    Peter Gallagher .... Bob Mathews 
    Kelly Lynch .... Susan Martinez 

    Writing credits: 
    Robert J. Avrech (screenplay)
    Thomas Martinez and John Guinther (book) 

    VICTOR WOLZEK

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