2001 Movie "The Believer" Depicted US Nazis Killing US Jews
September 6, 2019
This intelligent 2001 movie about a Jew who became a Nazi is a reminder that we are deprived of intelligent relevant works of art and suffer as a result.
Writer/Director Henry Bean, a Jew, said Hollywood distributors rejected "The Believer" after a showing at the Simon Wiesenthal Center. "The film does not work, there is no redemption, and it's a primer for anti-Semitism," the rabbi said.
Henry Bean said: "What Abraham Cooper at the Wiesenthal Center wasn't defending was piety or what's good for the Jews. What he was really defending was their power to define what the Jewish community should be, should say, should think. It was power, more than Judaism, they were concerned about. That's where I think the real force lives."
Bean is describing a cult, not a religion. "Their power to define" - think YouTube and Facebook. This cult principle is being expanded to embrace all of humanity. Satanic cults exploit and control their members by making them sick. This is the NWO.
Luckily "The Believer," a work of genius, is available again on Amazon Prime. The film is more relevant today than ever due to increasing "antisemitism," attacks on synagogues, and laws banning "hate speech," i.e. anything Jews hate to hear.
The movie is based on the story of Dan Burros, a Jew who became a Nazi.
It makes the following points.
1. Judaism is a trap for Jews. First, it posits that God is unknowable which is pure Satanism. The essence of true religion is that you obey God. How can you obey something you cannot know?
The Cabalists demand we obey them instead. This is why Judaism requires observance and obedience like a cult. "Danny Balint" sees the Jewish God as a bully and psychopath, This drives him crazy and he finally commits suicide.
Judaism is also a trap because it preaches Jewish supremacism which endangers all Jews. The fanatical Masonic (Cabalist) Jewish leadership is setting up ordinary Jews to take the blame for their sins: endless wars; media, education, and government monopoly; replacement migration and gender dysphoria, all designed to undermine and enslave the goyim.
2. This movie depicts the murder of a Jewish banker and the bombing of synagogues. Obviously Organized Jewry did not want this out there even though Jews generally are depicted very sympathetically.
"Danny Balint," played by Ryan Gosling in his breakthrough role tells a meeting of "fascists" that the way to neutralize Jews is to love them since they thrive on antisemitism. The film hints that most "antisemitism" is organized by Jews since the goyim are powerless without their own money-printing press and the nations' credit cards. When Balint accuses a financial backer of being a Jew himself, the backer replies, "What does it matter? The market is all that counts today. We are all Jews now." Doubly true if we remember what Henry Bean said above. Judaism is a mind-controlled cult.
Credible Nazis were so rare in the US that Bean had to imagine them.
Henry Bean, left, in 2002: "I went out to some bars in Queens where I ran into white supremacists who were so pathetically stupid that I had to invent Theresa Russell and Billy Zane's characters. I thought, if I didn't give this world [of white neo-Nazism] some sense of respectability, there was no way it could balance against the Jewish world. So I had to make it bigger and better than it was."
Here is the trailer.
"Jewish Nazis"
"Jewish Nazis"
by E. Michael Jones
(Excerpt edited by Henry Makow in May 2011)
The Believer is a 2001 film written and directed by Henry Bean about an orthodox Jew, played by Ryan Gosling, who becomes a neo-Nazi. The film is based loosely on the life of Daniel Burros, a neo-Nazi who committed suicide in the mid-'60s after a New York Times reporter wrote an article exposing him as a Jew.
According to Bean: "Burros was staying at a camp in the Poconos with the neo-Nazis when the story in the New York Times claiming that he was Jewish came out. The Nazis weren't upset. They were saying just sit down; we can talk about this. But Burros went up to his room, put on a Wagner record and shot himself. He killed himself within an hour of the story coming out."
Bean began discussing the Danny Burros story in the '70s when he was a writer living on the West Coast. He began to see Burros as typifying a particular kind of Jew. "He was a rabbi manque. Antisemitism is a form of practicing Judaism. He's sort of a rabbi after all. A Jew by day, a Nazi by night. . . . He was desperately hiding something and compulsively trying to bring it out at the same time. People are drawn to contradiction. He undergoes a conversion, but not back to the Torah."
By telling the story of the Jewish Nazi, Bean concluded, "I began to understand what Judaism was."
Bean's explanation of how a Jew can become a Nazi is at root theological. Through a series of flashbacks, the viewer sees Danny Balint, as he is called in the movie, arguing with his Yeshiva teacher about whether Abraham spared Isaac's life, as recounted in the Genesis account, or whether, as Danny maintains, he died on Mt. Moriah.
Danny's problems with religion stem from the fact that he takes the Torah much more seriously and literally than his fellow Yeshiva bokkers. When one of them tells Danny that "Fear of the Lord is the beginning of wisdom," he becomes rhapsodic: "Fear of the Lord," he responds, "makes you afraid of everything. Do you even believe in God? I'm the only one who does believe. I see Him for the power-drunk madman that he is. And we're supposed to worship such a deity? I say never."
At this point, the teacher tells one of the students "to ask Rabbi Singer remove Danny from my class," something which prompts Danny to turn his eyes upward and say to God, "Then let Him destroy me now. Let Him destroy me like the conceited bully that He is. Go ahead."
When Danny gets a call from a New York Times reporter, he gives an eloquent articulation of anti-Semitism. Judaism "is a sickness. . . . The real Jew is a nomad and a wanderer. He has no roots and no attachments. He universalizes everything. All he can do is buy and sell and manipulate markets. It's all mental. Marx, Freud, Einstein: what have they given us? Communism, infantile sexuality and the atom bomb. They want nothing but nothingness, nothing without end."
The main issue in The Believer is theological. Danny has penetrated to the heart of the Jewish religion by understanding that the Jew worships Nothingness. As he says to the Times reporter, the Jews "want nothing but nothingness, nothing without end."
The Times reporter is impressed, but, at the moment when the real issue is framed, he changes the subject. "Wow," he tells Danny, "You're incredibly articulate, but how can you believe all this when you're a Jew yourself?"
When confronted by the contradiction at the heart of his identity, Danny becomes violent. At first he denies he's Jewish, then he threatens to sue the Times if the reporter publishes the article: "It's reckless disregard. I'm going to sue your fucking Jew paper." Finally, he takes out a gun and puts it into the mouth of the reporter and announces, as if unaware of the contradiction: "If you publish that article, I will kill myself."
All of the themes we have been discussing--Jews, racism, Nazism, nihilism, and violence--are all present in this powerful scene. At this point, they begin to coalesce into a coherent picture.
The Jewish Nazi is a political terrorist, but he is, first of all, a Nazi, which is to say a particular kind of socialist. Jews were drawn to socialism and communism throughout the 19th century. In fact, Jews made up the backbone of those movements. Jews were drawn to those movements because they provided both an antidote and a way to give political expression to the Jewish nihilism which came into being when the Enlightenment arrived in the shtetl and destroyed rabbinic Judaism.
Deprived of a coherent worldview, the Jew still had a sense of himself as a member of the chosen race which could now only find expression in revolutionary violence. The best way for the shtetl Jew to bring about tikkun olan was via dynamite and the Colt revolver.
DEFINED BY CABALISM, JUDAISM IS NIHILISTIC (SATANIC)
After their rejection of Christ, the Jews confected a religion which is based on the absence of Logos, which is to say, the absence of Being, which is to say, nothing.
If the Eucharist in the tabernacle in the Catholic Church can be termed "the real presence," then what the Jew who rejected Christ worships in his synagogue can be termed "the real absence," which is another word for nothing. The Jew worships nothing; or better, the Jew worships nothingness. The Jew, as Jacques Derrida has pointed out malgre lui but amply in his deconstructive literary criticism, is obsessed with the absence of presence or the presence of absence.
The Believer is a 2001 film written and directed by Henry Bean about an orthodox Jew, played by Ryan Gosling, who becomes a neo-Nazi. The film is based loosely on the life of Daniel Burros, a neo-Nazi who committed suicide in the mid-'60s after a New York Times reporter wrote an article exposing him as a Jew.
According to Bean: "Burros was staying at a camp in the Poconos with the neo-Nazis when the story in the New York Times claiming that he was Jewish came out. The Nazis weren't upset. They were saying just sit down; we can talk about this. But Burros went up to his room, put on a Wagner record and shot himself. He killed himself within an hour of the story coming out."
Bean began discussing the Danny Burros story in the '70s when he was a writer living on the West Coast. He began to see Burros as typifying a particular kind of Jew. "He was a rabbi manque. Antisemitism is a form of practicing Judaism. He's sort of a rabbi after all. A Jew by day, a Nazi by night. . . . He was desperately hiding something and compulsively trying to bring it out at the same time. People are drawn to contradiction. He undergoes a conversion, but not back to the Torah."
By telling the story of the Jewish Nazi, Bean concluded, "I began to understand what Judaism was."
Bean's explanation of how a Jew can become a Nazi is at root theological. Through a series of flashbacks, the viewer sees Danny Balint, as he is called in the movie, arguing with his Yeshiva teacher about whether Abraham spared Isaac's life, as recounted in the Genesis account, or whether, as Danny maintains, he died on Mt. Moriah.
Danny's problems with religion stem from the fact that he takes the Torah much more seriously and literally than his fellow Yeshiva bokkers. When one of them tells Danny that "Fear of the Lord is the beginning of wisdom," he becomes rhapsodic: "Fear of the Lord," he responds, "makes you afraid of everything. Do you even believe in God? I'm the only one who does believe. I see Him for the power-drunk madman that he is. And we're supposed to worship such a deity? I say never."
At this point, the teacher tells one of the students "to ask Rabbi Singer remove Danny from my class," something which prompts Danny to turn his eyes upward and say to God, "Then let Him destroy me now. Let Him destroy me like the conceited bully that He is. Go ahead."
When Danny gets a call from a New York Times reporter, he gives an eloquent articulation of anti-Semitism. Judaism "is a sickness. . . . The real Jew is a nomad and a wanderer. He has no roots and no attachments. He universalizes everything. All he can do is buy and sell and manipulate markets. It's all mental. Marx, Freud, Einstein: what have they given us? Communism, infantile sexuality and the atom bomb. They want nothing but nothingness, nothing without end." The main issue in The Believer is theological. Danny has penetrated to the heart of the Jewish religion by understanding that the Jew worships Nothingness. As he says to the Times reporter, the Jews "want nothing but nothingness, nothing without end."
The Times reporter is impressed, but, at the moment when the real issue is framed, he changes the subject. "Wow," he tells Danny, "You're incredibly articulate, but how can you believe all this when you're a Jew yourself?"
When confronted by the contradiction at the heart of his identity, Danny becomes violent. At first he denies he's Jewish, then he threatens to sue the Times if the reporter publishes the article: "It's reckless disregard. I'm going to sue your fucking Jew paper." Finally, he takes out a gun and puts it into the mouth of the reporter and announces, as if unaware of the contradiction: "If you publish that article, I will kill myself."
All of the themes we have been discussing--Jews, racism, Nazism, nihilism, and violence--are all present in this powerful scene. At this point, they begin to coalesce into a coherent picture.
The Jewish Nazi is a political terrorist, but he is, first of all, a Nazi, which is to say a particular kind of socialist. Jews were drawn to socialism and communism throughout the 19th century. In fact, Jews made up the backbone of those movements. Jews were drawn to those movements because they provided both an antidote and a way to give political expression to the Jewish nihilism which came into being when the Enlightenment arrived in the shtetl and destroyed rabbinic Judaism.
Deprived of a coherent worldview, the Jew still had a sense of himself as a member of the chosen race which could now only find expression in revolutionary violence. The best way for the shtetl Jew to bring about tikkun olan was via dynamite and the Colt revolver.
DEFINED BY CABALISM, JUDAISM IS NIHILISTIC (SATANIC)
After their rejection of Christ, the Jews confected a religion which is based on the absence of Logos, which is to say, the absence of Being, which is to say, nothing.
If the Eucharist in the tabernacle in the Catholic Church can be termed "the real presence," then what the Jew who rejected Christ worships in his synagogue can be termed "the real absence," which is another word for nothing. The Jew worships nothing; or better, the Jew worships nothingness. The Jew, as Jacques Derrida has pointed out malgre lui but amply in his deconstructive literary criticism, is obsessed with the absence of presence or the presence of absence. Nihilism leads inevitably to violence because violence, which is a manifestation of the arbitrary and autonomous will, is the only way that the acting person can assert his existence in a world without Logos.
Violence is an extreme form of self-assertion, and only extreme forms of assertion are powerful enough to prevent the slide into non-being to which the Jewish nihilist is exposed by the very fact that he is Jewish.
Nihilism, in other words, leads inevitably to violence. So to get back to the plot of The Believer, when Danny goes to a Jewish bookstore, he meets one of his former Yeshiva classmates, who invites him to the synagogue for services--the same synagogue, it turns out, where Danny planted a bomb, which failed to go off.
This time he plants another bomb, timed to go off during Sabbath services, at which he decides to read the Torah. When Danny goes to the synagogue, he meets one of his former Yeshiva classmates, who calls him a "Jewish Nazi."
By showing up to davin at the synagogue where he has planted a bomb, Danny the Nazi finally succeeds in killing Danny the Jew. But since he dies reciting the Torah, it is equally accurate to say the Danny the Jew ends up killing Danny the Nazi.
-----
Related - Henry Bean's second movie, Noise (2007) is also brilliant. Based on his own experience, it also bombed at the box office.
--------------- In a fascinating interview, Bean talks about making the film and its reception.
JJ said (September 8, 2019):
This movie describes a situation that is very true. I've been to a couple of white nationalist events and see this.
First of all, there is a great lack of maturity among the actual Europeans who are there. Most, in my opinion, were welfare bums. Where were the doctors and lawyers? The immaturity is evident.
Secondly, you have mixed racers and race mixers who want associations with whites for the purpose of finding blond-haired partners. And I have met many both inside and outside of these groups who call themselves white who are as dark as the color black without a tan. This is very confusing.
Thirdly, those who understand how to destroy a race also know how to build a race and Jews are masters at both of these projects. But they rarely identify as Jews so time and again I've been caught off guard by a race builder only to find out later that this person whom I thought was a comrade...was...not.
Building community is not about parades and goose steps and demonstrations and banners and underground secret meetings and demanding more government money or rights. It's hard work done by mature people who give sacrificially.
The groups out there are a waste of both followers and leadership and a bad distraction. And they are a way for the white man's enemies to check up on us because any true patriot will likely investigate these groups a little bit.