As Flynn and Gerhardt’s book reveals, the actions of the Brüder Schweigen make the neo-cowboy bank-robbing depicted in David Mackenzie’s Hell or High Water (2016) seem terribly trite by comparison. A sort of real-life (and less autistic) white nationalist equivalent to the character Dignan from Wes Anderson’s debut feature Bottle Rocket (1996), Mr. Mathews was, despite his flaws, a relatively pure of heart man that was virtually unanimously beloved by his followers and who practiced what he preached to the point where he literally sacrificed himself for them and became a martyr to the cause. Indeed, after a very long and intense standoff with 75 armed federal law enforcement, Mathews was burned alive as a result of an FBI agent firing three M-79 Starburst flares inside the house that he barricaded himself inside. Needless to say, Costa-Gavras’ highly fictionalized depiction of Mathews and the Brüder Schweigen is a grotesque injustice in terms of sheer historical fact, yet the film is not without its intriguing elements, namely its depiction of the FBI as more or less a morally bankrupt outfit led by power-hungry nihilists that lack principles and are just as criminally-inclined as the lawless terrorists that they so ruthlessly seek to destroy. In short, Costa-Gavras might hate fascists, but he seems to hate the FBI and United States government just as much. After all, as the Betrayed reveals, while the FBI agents have sold their souls to a corrupt government, the white revolutionaries at least have ideals and are fighting for a cause that they truly believe in.
Of course, Betrayed is also plagued with some disgusting absurdities, including a sickening scenario where a group of white nationalist hillbillies hunt down and kill a negro in the woods with a certain sadistic glee, as if they are hunting for deer for sport. While the Brüder Schweigen assassinated an enemy and killed a traitor, they certainly were not prone to targeting random negroes or other nonwhites, as they considered such senseless savagery to be counterproductive to their cause. It should be noted that the film’s screenwriter Joe Eszterhas is a pathetic ethno-masochist of sorts who refused to visit his own father, Hungarian aristocrat Count István Esterházy, on his deathbed because the old man was once a member of the nationalistic Arrow Cross Party. Indeed, not unlike Eszterhas’ subsequent cinematic collaboration with Costa-Gavras, Music Box (1989), Betrayed features a rather dubious message that it is morally righteous to betray a loved one and/or family member to a corrupt government if that person shares certain less than politically correct political views. On top of that, both films feature a laughably insipid feminist message that becomes all the more patently absurd when one realizes that Eszterhas penned such compulsively sleazy films as Basic Instinct (1992) and Showgirls (1995). In short, Eszterhas is probably the most to blame for the films’ rather retarded post-shoah pseudo-moralizing.
At the beginning of Betrayed, an odiously obnoxious Jewish radio show host based on Alan Berg—a loathsome figure whose assassination was also depicted in Oliver Stone's largely forgotten celluoid turd Talk Radio (1988)—is gunned down in a parking garage shortly after he gets done finishing a show where he baits anti-Semites by stating things like, “Jew-boys. Anti-Semitism, racism, hate. I know there’s a lotta kike-haters among you nice Gentiles.” Needless to say, like the real Herr Berg—a seemingly quasi-sociopath with a fetish for black women who was supposedly gunned down by Brüder Schweigen member Bruce Pierce with a MAC-10 in his own driveway—the Jewish radio host, who makes Howard Stern seem like a cultivated gentlemen and scholar by comparison, is a hardly sympathetic character, but since he is a high-profile individual the FBI begins investigating his mysterious murder and ultimately hires a less than dainty dame named agent Catherine Weaver (played by real-life Jewess Debra Winger) to infiltrate a small Midwestern farming community to see if some of its populous are part of an underground white nationalist network that is suspected of the incendiary Israelite's murder. Since the assassins spray-painted “ZOG” on both the Jewish radio host's corpse and car, the FBI is convinced that white nationalist carried out the murder, but they have no evidence to support their suspicions. A cold and oftentimes highly irritable childless single woman that seems to be emotionally impenetrable, Catherine has nil family member because she lost both of her parents in a car crash when she was just a wee babe, thus she makes the perfect undercover FBI agent due to her lack of familial responsibilities and seemingly deep-seated longing for a family of her own. Unfortunately for Catherine, she does not expect to be effortlessly seduced by the Midwest's foremost white revolutionary.
Indeed, not unlike Gary and his group in regard to nonwhites and race traitors, the FBI has dehumanized Gary’s gang to such an extreme degree that they derive sadistic glee from killing its members in cold blood. Naturally, as a decidedly duplicitous dame that lives a virtual schizophrenic existence where she finds it impossible to become totally loyal to either the FBI or Gary’s group, Wes’ murder only further compounds Catherine's growing resentment and disillusionment towards her emotionally parasitic and obscenely opportunistic employers to the point where her mental stability begins to become compromised and she questions everything that she is doing. On top of loving Gary, Catherine has developed strong emotional bonds with certain members of the group, including a benign grandfather-like figure named ‘Shorty’ (John Mahoney) who, despite loathing violence and murder, decided to join the revolutionary group after a bank stole his farm and the Vietnam War claimed his sole son. Like many of the members of the Brüder Schweigen, the members of Gary’s group have legitimate personal grievances against the government, which is using the IRS to systemically destroy Midwestern farmers and dispossess them of their farms and livelihoods. In short, the government and its anti-citizen/anti-farmer/anti-white policies are directly responsible for the growth of white nationalist movements, or so the film clearly insinuates. Indeed, while the film is obviously anti-Nazi, it also dares to reveal that the white revolutionaries are the natural consequence of a corrupt globalist government that cares nothing for its most loyal and patriotic citizenry.
In the end, Catherine is so emotionally tormented by the entire experience that she immediately quits the FBI because she rightly believes they exploited her female wiles and then hits the road to wander aimlessly like some degenerate Beat poet. Not surprisingly, Catherine, who genuinely loved the man she killed, is so haunted by Gary that she thinks she sees him at a random bar, as if she will be forever tormented by his figurative ghost. In the very last scene of what is indubitably completely senseless sappy and sentimental feminist swill, Catherine actually gets the gall to pay a visit to Gary’s daughter Rachel despite the fact that she murdered the little girl’s father, thus leaving her and her older brother with no parents. Indeed, somewhat ironically, although she suffered the loss of both of her parents at an early childhood, Catherine did not think twice about consigning a helpless little girl to the same sorry fate, thus contributing to the vicious cycle of bastardization. Of course, the message of Betrayed is that it is much preferable to have dead parents than neo-Nazis ones, but I guess that is what one should expect from a film that was penned by a man that disowned his own father and even refused to pay him a final visit on his deathbed due to his political views.
Needless to say, Costa-Gavras’ film is, in a somewhat conventional way, a piece of big budget Zionist propaganda that depicts Midwestern farmers as potential terrorist and blames sociopathic WASPs for the corruption of the extremely pro-Zionist FBI. Surely the film’s depiction of white revolutionaries hunting and killing a negro for sport is nothing short of a grotesque leftist fantasy that bears no relation to any of the actions taken by the Brüder Schweigen, which actually forbid its members from senselessly attacking nonwhites. In fact, the scene is so senselessly stupid that lifelong leftist and negrophile Robert Ebert was even offended by it, or as he wrote in his 1988 review, “Another element that bothered me much more was a particularly disgusting and violent scene in which Berenger and his right-wing buddies capture a black man and then stage a ‘hunt’ in which they chase him through the forest at night and finally kill him. It is reprehensible to put a sequence like that in a film intended as entertainment, no matter what the motives of the characters or the alleged importance to the plot. This sequence is as disturbing and cynical as anything I’ve seen in a long time – a breach of standards so disturbing that it brings the film to a halt from which it barely recovers. I imagine that Costa-Gavras, whose left-wing credentials are impeccable, saw this scene as necessary to his indictment of the racist underworld he was exposing. But BETRAYED is not a small, brave political statement like Z, it is a Hollywood entertainment with big stars, and vile racist manhunts have no place in it.” Indeed, the only purpose of the scene is to instill an irrational of the white revolutionaries in the viewer, which of course is quite typical of post-Eisensteinian Hollywood Zionist propaganda.
Franco-Grecian commie Costa-Gavra' sort of carelessly convoluted hick Hollywood answer to Alfred Hitchcock's Notorious (1946) starring homely Hebrewess Debra Winger as the Ingrid Bergman character, Betrayed is reasonably entertaining, features semi-sexy characters, and even includes the nice little novelty of self-described “hillbilly Jew” Ted Levine portraying a murderously paranoid neo-Nazi with a gay rapist past, yet it is also a work of audaciously asinine agitprop that unwittingly gives credence to the theory that America is under the control of a Zionist Occupied Government that is systematically destroying and dispossessing American's white working-class backbone, hence the birth of the Brüder Schweigen in the first place. Indeed, the last thing white proles need after a long hard day of work is to be confronted with the condescending and hypocritical anti-white celluloid garbage that is being incessantly vomited and defecated out by the liberals and Jews of Hollywood, or so Alan Berg learned the hard way after spewing out years of anti-goy vile to his thoroughly debased listeners.