Sep 1, 2013

The Unknown Soldier

Undoubtedly, you have to wonder about a man who has not only dedicated his career to attacking his people and country, but also his own father, which has certainly been the masochistic thematic mainstay of far-leftist Bavarian auteur Michael Verhoeven (Die weiße Rose aka The White Rose, Das schreckliche Mädchen aka The Nasty Girl). While one of his least aesthetically ambitious works, Verhoeven decidedly deluded documentary Der unbekannte Soldat (2006) aka The Unknown Soldier: What did you do in war, Dad?—a pseudo-intellectual and Philo-Semitic agitprop piece of the superficially sentimentalist variety that libelously attempts to collectively condemn the entire German Wehrmacht (army) as war criminals that were no less evil than members of the Einsatzgruppen SS death squads—is essentially the thematic summation of an exceedingly ethno-masochistic filmmaker who seems to have dedicated his entire career to atone for the fact that his father Paul Verhoeven (of no relation to the Dutch Robocop director of the same name) was a National Socialist filmmaker. The fact The Unknown Soldier opens with the ridiculous inter-title “What did you do in war, Dad?” only goes to show Verhoeven’s vindictive and venomous lifelong Oedipus complex. Inspired by public controversy surrounding the 1997 release at the Hamburg Institute for Social Research of the so-called “Wehrmachtsausstellung” (German Army exhibition)—a largely fiction-based exhibition supposedly focusing on War crimes of the Wehrmacht committed on the East Front from 1941 to 1944 that was set up by German ‘antifascist’ communist historian Hannes Heer, who managed to acquire a rather lengthy criminal wrap-sheet during the 1970s as a left-wing agitator/softcore terrorist—The Unknown Soldier is a brazenly biased work that for the most part only focuses on showing images of kosher corpses and interviewing communist/far-left academics/intellectuals and Zionist Jews regarding the supposed crimes against humanity allegedly committed by the Wehrmacht. While barely touched on in The Unknown Soldier, the Wehrmachtsausstellung exhibit was taken down in 1999 due to the fact that, among other things, only ten percent of all the 800 photos of alleged war crimes were actually Wehrmacht crimes (most were those committed by the Red Army and other commie Slavs) as recognized by Hungarian historian Krisztián Ungváry. Like any red ‘true believer’, Hannes Heer, who refused to acknowledge criticism of the exhibit and his failure as a historian (and very possibly academic fraud), was fired from his position as the director of the Hamburg Institute for Social Research (where the original exhibition was setup) and excluded from being involved in a revision of the exhibition released from 2001-2004 and with The Unknown Soldier, director Verhoeven goes to great lengths to portray the commie shoah showman and falsifier of history as an honorable humanitarian and intellectual sage. Opening with stock-footage of a sign on the Eastern Front that reads “These Jews stirred up hatred against the German Wehrmacht” and proceeding to show a line of lynched Israelites with star of David badges hanging from a pole, The Unknown Soldier wastes no time in imposing absurdly sensationalized psychological warfare on the viewer, attempting to associate the common German soldier with genocide and the holocaust as if the entire Wehrmacht was led by Wotan. 

 Towards the beginning of The Unknown Soldier, a female newcaster from a news report dated Feb. 24, 1997 states that “The exhibit “War of Extermination – Crimes of German Armed Forces 1941-44” is opening at this very minute after a 4-year battle,” thus demonstrating that, despite being over half a century since the conclusion of the Second World War that the public promotion of suicidal ethno-masochism and self-flagellation has reached a totally new all time low in American-occupied and culturally homogenized Teutonland. Before the viewer knows it, they are introduced to discernibly dubious creator of the Wehrmachtsausstellung exhibit, Hannes Heer—a swarthy, gulky, and rather all-around repellant girly man with a pompous ponytail and prissy demeanor who proceeds to go on a self-righteous diatribe about how all Germans were brainwashed to kill and had an innate kike-killing Weltanschauung inspired by Uncle Adolf's infamous tome Mein Kampf that made the common kraut take a Terminator-esque approach to battle. Outside a Munich-based protest of the exhibit, various elderly proletarian Germans, many of whom fought in the Second World War, discuss their abject disgust and disdain for the misleadingly titled German Army exhibition. One German man makes the insightful remark regarding the exhibit, “Foreigners are running around here, plenty of them, look over there. They’re laughing about the Germans. They’re saying, “Those Germans are crazy,”” and, indeed, the German (leftist) mainstream does seem to have a special affinity for self-flagellation because, after all, since when has a Mongol felt bad about the legacy of Genghis Kahn, a Jew apologized for the genocidal class warfare of Leon Trotsky, or a towelhead apologized for the actions of Osama Bin Laden?! Of course, Michael Verhoeven managed to find as much as footage possible of seemingly nefarious neo-nazi skinheads and National Democratic Party of Germany (NPD) members acting like buffoons while listening to militant neofolk music at outdoor concerts, which then segues into an interview with a ‘holocaust survivor’ (she never actually stayed in a concentration camp) Charlotte Knobloch who, on top being one of the most influential Jews in Munich and being the President of the Central Council of Jews in Germany (Zentralrat der Juden in Deutschland), is also Vice President of the European Jewish Congress and the World Jewish Congress. Journalist Ralph Giordano—another holocaust survivor who never stayed in a concentration camp and later went on to become a communist after the Second World War and dedicating his life to writing propaganda against neo-nazis and Islamo-fascists—also weighs in on the wretched wrath of the Wehrmacht, even declaring that the average WWII-era German had the capacity to be a killer of women and children. All in all, most of the subjects featured in The Unknown Soldier seem to be reading from the same Trotskyite playbook of propaganda, though Christian Worch, an important neo-nazi who, unlike the typical Amerikkkan nutzi, seems rather rational in his opinion. In fact, before looking Worch up online, I assumed he was merely another cultural Marxist historian, albeit one with a much more objective understanding of history.  Of course, like in most contemporary European countries, any individual that displays even the slightest pro-nationalist sentiments is looked upon as a potential nazi and homicidal Heeb exterminator.

As historian Jörg Friedrich—an ex-Trotskyite best known for his publication Der Brand (2002) aka The Fire, which details the Anglo-American Allied bombing campaign that was largely carried out to simply eradicate large percentages of the German populous, especially women and children—states near the conclusion of The Unknown Soldier, “No army will ever function if every subordinate first checks each order to verify its validity and legitimacy. If that were the case, the army would be lost already.” And, indeed, Friedrich’s remark seems to be something virtually every of the pencil-pushing far-left intellectuals in The Unknown Soldier cannot seem to realize the job of a soldier and chain of command, as if every single German soldier (no matter how low-ranking) was responsible for the comfort of every Jew and Red Army soldier. As an elderly man protesting the Germany army exhibit states, “It’s natural that people were captured who were partisans or had been, and that they were shot. That is the inalienable right of the Germans.” Ultimately, the Wehrmachtsausstellung exhibit is just another way for communists, vengeful Hebrews, feminists, and American globalists, and other enemies of the German people to shame Germans into guilt and to accept that their nation is turning into a multicultural sewer. Until Germans and other Europeans tell Zionist Jews, leftist intellectuals (aka Frankfurt School fetishists aka ethno-masochistic Philo-Semites), and Americans to fuck off and stop whining about the so-called holocaust, they are facing a very likely suicide as a people and nation as recognized by everyone from Pat Buchanan to French-German ‘New Right’ theorist Pierre Krebs. As director Michael Verhoeven admitted in an interview with, he was largely inspired to direct The Unknown Soldier in retaliation for nationalistic protest against the German Army exhibition, stating “You have to imagine that I am not a documentarian. All films I had made before were purely fictional. But on the 1st of March, 1997, a demonstration of 5,000 neo-nazis took place in the heart of Munich, at the St.Jakobs-Platz, where the Jewish Community Center is established. The neo-nazis came from all over Germany to protest against the exhibition about the crimes of the German "Wehrmacht." I spontaneously called camera teams to hurry to the St.Jakobs-Platz and decided to confront the neo-nazis with questions. This was the beginning of my work on that documentary, which started before I even had watched the exhibition. It was not only opposed by the right-wing of German society but as well by people of all levels and groups,” thus the documentary should not be approached as anything less than a senselessly sensationalized agitprop piece that gives Deutschland's most prestigious and vainglorious academic commies a platform to spew their fossilized anti-fascist rhetoric, a good percentage of which is inspired by Soviet propaganda (ironically, a large percentage of the photos from the original Germany Army exhibit were taken from Soviet propaganda files, including atrocities committed by the Red Army, but later falsely attributed to Germans).

 For whatever reason, the page for The Unknown Soldier does not list a single person interviewed for the documentary, nor does the documentary itself reveal these individuals' relatively extremist political affiliations, but virtually every one of them, including Hannes Heer, Oskar Negt (a Marxist theorist and friend of Alexander Kluge), Dieter Pohl, Charlotte Knobloch, and Ralph Giordano is a communist and/or Zionist Jew with a political agenda that does not promote peace as one would expect from the film's anti-war tone, but rather class warfare and genocide instead. While focusing on Jewish suffering at the hands of the average German, The Unknown Soldier fails to acknowledge that, aside from the fact that there were over 5,318,000 German military causalities in WWII (as recognized by German historian Rüdiger Overmans' extensive study titled German Military Casualties in the Second World War), more Germans were killed in World War II than Jews, not to the mention the upwards of two million Germans that were exterminated after the war during the Flight and Expulsion of Germans (1944–50) by the Soviets, who people like Wehrmachtsausstellung exhibition creator Hannes Heer support in spirit as commies who are traitors to their own people and nation. As stated by former German Chancellor Konrad Adenauer in April 6th, 1951, as presented towards the beginning of The Unknown Soldier regarding Wehrmacht criminals, “The percentage of those who are truly guilty is so insignificant and so exceptionally small that, I would like to say in this context, that they do not tarnish the honor of the former German Armed Forces.” Featuring incessant collage footage of evil Nazis goose-stepping and the same exact played out footage/photographs that are used in virtually every holocaust museum/documentary of starved Jewish corpses and lynch Judeo-Bolsheviks, The Unknown Soldier is just another one of the many examples of how the absurdly outmoded agitpropagandists of the far-left are starved for material in their one-dimensional propaganda war.  A virtual porn flick for antifa activists and pedantic cultural Marxist academics/intellectuals, The Unknown Soldier is ultimately more revealing about how modern day Germany is run by traitors, cowards, and armchair commies than any sort of serious and intellectual stimulating discuss of German soldiers during the Second World War.  Rather ironically, director Verhoeven admitted in an interview with the site regarding The Unknown Soldier that he largely learned his craft as a filmmaker from his National Socialist auteur father, stating, “I preferred the more psychological way of directing, which I had experienced with directors like my father and Kautner.” Of course, The Unknown Soldier is nowhere near as entertaining as a Nazi propaganda flick like Der ewige Jude (1940) aka The Eternal Jew directed by Fritz Hippler (who was of partial Jewish ancestry himself), but what else can one expect from a filmmaker who combined the aesthetically banal theories of Philo-Semitic kraut commie Bertolt Brecht with Hebraic vaudevillian style humor for his most popular film The Nasty Girl (1990).

-Ty E

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