Jan 10, 2015

Cool!




While his final feature 06/05 (2004)—a subversive fictionalized account of the assassination of gay Dutch anti-multiculturalist politician Pim Fortuyn by a seemingly ethno-masochistic animal rights extremist that incriminates the Dutch Secret Service in the politician's death—received some degree of popularity and critical praise because it was released in the wake of his grisly assassination by a super swarthy towel-headed Moroccan untermensch terrorist (though some believe he was the victim of more shadowy circumstances involving the Dutch Secret Service), Dutch auteur Theo van Gogh’s penultimate feature Cool! (2004) is fairly unknown, which is somewhat peculiar since it is more or less about the same good-for-nothing second-generation third world degenerates that the iconoclastic artist’s assassin belonged to. Without a doubt, van Gogh was killed as a direct result of directing the Islam-unfriendly short Submission: Part I (2004)—a low-budget production made in collaboration with lapsed muslim Somali-born feminist writer and politician Ayaan Hirsi Ali featuring a nude Arab woman whose body has been painted with verses from the Quran—but if I was a young towel-head of Moroccan or Turkish mongrel stock, I would have surely been more offended by Cool! which accurately depicts the Dutch-born Arab youth non-culture as something akin to that of American negroes. Indeed, the teenage untermenschen of van Gogh’s surely ironically titled work are hip-hop and crime worshipping illiterates of Berber, Moroccan, Turkish, and Caribbean negro stock who live in a liberal Occidental society they can never possibly survive and thrive in by any legal means, so they rob banks owned by evil rich white people when not grunting out sub-literate rap lyrics and defiling homely second-rate white chicks that no self-respecting white man would ever touch. A sort of Dutch teenage anti-Scarface that demonstrates why there is no real place in the West for people spawned from women that are forced to always wear medieval do-rags over their seemingly empty heads, the work ultimately demonstrates why its director once stated, “This is what our multicultural society has brought us: a climate of intimidation in which all sorts of goatfuckers can issue their threats freely.” Of course, with the recent January 2015 killing of twelve people that worked at the French leftist satirical weekly newspaper Charlie Hebdo by three delinquent Islamists, including a dope-smoking aspiring rapper, Cool! is surely more relevant than ever, as a work that reflects the sort of crude and savage criminality that a country and, in turn, continent, begets when its becomes ‘tolerant’ of the innately intolerant and ultimately intolerable. Indeed, the fact that the great-grandnephew of artistic royalty like Vincent van Gogh would ever direct a film featuring teenage Turks rapping in Dutch just goes to show the decidedly deleterious effect that the malignant social cancer known as multiculturalism has had on the Netherlands. Filmed at a real-life juvenile delinquency facility and starring a couple real-life juvenile delinquents, Cool! is filmic realism in its most radically repugnant and endlessly anti-entertaining form, as a sort of cinematic equivalent to spending 90 minutes or so in Islamo-gangster pandemonium. 




 A clique of teenage ‘people of color’ totally botch a bank robbery and in the process kill an elderly Dutch bank manager after he suffers a heart attack when one of the outlaw youths nonsensically fires a firearm into the air, so the superlatively swarthy homeboys are sent to a juvenile detention facility called Glenn Mills and there they celebrate by singing rap lyrics like, “…keep cool in all you do…I have to keep cool and fuck the rest…smoke ganja every day against the street…” as they're being driven to their new home. As the film soon reveals, the colored would-be-gangsters are led by a Hitler-loving white wigger that sports a FTW (aka “Fuck The World”) beanie named Prof (Johnny de Mol), who demonstrates his love for his girlfriend Mabel (popular half-caste Dutch-Chinese-Surinamese actress/singer Katja Schuurman, who previously starred in van Gogh's popular 2003 film Interview) by giving her a “real bolshevik” bracelet “from Russia.” Prof seems to have about the same opinion of Arabs as director van Gogh as he jokingly tries to coerce his Nosferatu-esque homeboy Najib (Najim Laoukili) into fucking a goat, but when his colored comrade fails to comply, he shoots the poor animal with his handgun. Unfortunately for Prof, his main bitch Mabel has a thing for a pube-headed turd named Abdel (Fouad Mourigh) that works for him. Clearly, Abdel, who is one of Prof’s underlings, forgets the truism “bros before hoes” in what ultimately makes for a pointless and putrid (un)romantic subplot. Of course, there is no honor among thieves, especially if they come from the third world and wigger wuss Prof luckily eventually gets what he is asking for. 




 Like criminally-inclined American negro youth, the ‘colorful’ characters of Cool! also talk about things like “respect” and “pride” as if they have any idea what such words really mean. After being sent to Glenn Mills for their roles in the botched bank robbery, a couple of the characters like Abdel and his negro friend Jeffrey (Julien de Roover) are forced to learn ‘respect, ‘discipline,’ and ‘self-control’ so they can get out of the detention center, which makes Abdel especially crazy because he wants to bone his wigger boss Prof’s girlfriend Mabel. Meanwhile, Prof moronically plots a bank robbery for one million Euros at the same bank where Mabel works and which Abdul and his pals previously failed to rob. To make a long, banal story short, the bank robbery is intentionally botched and Abdel is killed while shielding Mabel from his bullets. Luckily, alpha-wigger Prof is also killed by the cops. At Abdul’s hip-hop funeral, one of his friend raps, “death is our friend but Abdul did not deserve this end.” Not surprisingly, Mabel is impregnated by Abdel’s similarly short, swarthy, and pube-headed comrade Mohammad (Farhane El Hamchaoui). As for the rest of the camel jockey gangsters, they predictably continue being proud criminals. 




 Unquestionably, the story behind Cool! is much more interesting than the film itself, especially in regard to the real-life thugs that played some of the lead roles. As documented in his book Murder in Amsterdam: The Death of Theo van Gogh and the Limits of Tolerance (2006), Anglo-Dutch-Jewish journalist Ian Buruma, who is incidentally the nephew of Anglo-Jewish auteur John Schlesinger (Sunday Bloody Sunday, Midnight Cowboy), took the time to interview some of the stars of van Gogh’s film, most notably Farhane El Hamchaoui, who engaged in gangster gang-bangs, the mugging of elderly white Dutch people, and even the robbing of the headmaster of the ‘special’ school he was sent to as a juvenile delinquent before becoming an actor. Despite the fact that van Gogh gave him his first big break by giving him his first acting role as one of the leads in Cool!, El Hamchaoui stated regarding the Dutch filmmaker and his assassination as a result of directing Submission, “I would never support Mohammed Bouyeri. But about the film he was right. No Moroccan respects Mohammed Bouyeri. To commit a murder during Ramadan — that is totally unacceptable.” Indeed, because van Gogh directed a film featuring verses of the Quran painted on an unclad body, El Hamchaoui believes it was totally justified that the Dutch filmmaker was savagely assassinated and, even more absurdly, only takes any sort of disagreement with the assassination because it took place on Ramadan, thus reflecting his innately Islamist worldview. Of course, El Hamchaoui is no Muslim extremist and he is as assimilated as ‘Dutch Moroccan’ people come yet he believes the senseless slaughter of a goofy Dutchman that jumpstarted his career was justified simply because said Dutchman had the gall to direct a short film that might hurt the typical towel-head’s feelings. Interestingly, when Buruma asked El Hamchaoui if he “ever felt Dutch,” he replied that he felt “neither Dutch nor Moroccan,” though when it comes to the Dutch playing the Moroccans in soccer, he replied rather revealingly by stating, “Then I’m for Morocco, for sure! But if I had to choose between a Dutch passport and a Moroccan one, I would choose the Netherlands. You have to think of your interests. A Moroccan passport would be useless. But with soccer I can choose for my own blood.” Indeed, unlike the decidedly deracinated Dutch and most other Europeans, Arabs and virtually all other people know that blood comes first in terms of loyalties and the only reason that non-whites are in Europe in the first place is to suck on the tender teat of the welfare system, which subsidizes the large and largely non-working and uneducated families of foreigners while taxing the hell out of the indigenous white population so they cannot afford children of their own, hence the declining birth rates in not only the Netherlands, but virtually every single other European nation on earth. 




 Indubitably, compared to van Gogh’s earlier more subversive and experimental features like his debut Lüger (1982), sardonic Sapphic serial killer flick Charley (1986), and darkly comedic sadomasochistic thriller Loos (1989), Cool! seems like a culturally confused mongrel of a movie directed by someone who has given up on their own idiosyncratic artistic vision and has become obsessed with a racially alien element that has made him feel like a stranger in his homeland. Of course, as his other later works like the 2002 television play Najib en Julia (a reworking of Shakespeare’s Romeo and Juliet featuring a love affair between a rich white girl and Moroccan prole), Submission, 06/05, and unrealized drama series Duizend en één dag aka A Thousand and One Days demonstrate, van Gogh was absolutely obsessed with the Islamic ghetto that his tiny Germanic lowland nation was degenerating into to the point where he found it almost unbelievable. Indeed, even after receiving multiple death threats, van Gogh found it inexplicable that someone might murder him for asserting his right to freedom of speech, apparently stating, “Nobody kills the village idiot,” but of course a medieval-minded dune coon proved him wrong. It is surely a bad sign of a race’s survival instincts when a proud queer like Pim Fortuyn, a pathologically rude nihilist like van Gogh, and racially mixed Zionist of partial Indonesian Asiatic stock who dyes his hard blond like Geert Wilders are the only public figures in a nation that have enough testicular fortitude to make light of the fact that their country is devolving into a hotbed for third worldization, Isalmification, deleteriously decadent late-stage liberalism, and racial suicide. 




 As the grandson of a ‘racially insensitive’ Dutch WWII resistance fighter, I see the general Dutch passive reaction to the third world Muslim deluge in their country as patently pathetic because if previous generations were willing to fight in vain against the Wehrmacht and Schutzstaffel, ridding themselves of literally barbarian-minded uneducated third world rabble who swoon over Mohammad should be a no brainer. Notably, ever since his father was assassinated, Theo van Gogh’s son Lieuwe has been the target of multiple attacks from Moroccan and Turkish ‘youths’ yet the Dutch police refuse to protect him. At least Lieuwe can look back proudly on the fact that his padre was one of the few Dutchmen that had the balls to ‘call a spade a spade’ and demonstrated via his films, books, and TV appearances that goatfuckers have no place in a healthy Holland. Indeed, while I found the film fairly intolerable due to its retarded rap songs, pimple-plagued teenage towel-head stars, and anticlimactic bank heists, Cool! ultimately does what van Gogh intended to do via what might be described as an ‘Islamist neo-minstrel hip-hop show’ by demonstrating that no amount of liberal-minded ‘reforming’ programs will ever be able turn the spawn of Turks, Moroccans, and negroes into real Dutchmen, let alone law-abiding citizens who contribute to society instead of defile it with an antisocial crime-glorifying pseudo-culture that has done more to harm the untermenschen than any form of colonization or nonwhite pogroms.



-Ty E

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