Apr 12, 2020

Imperium: The Flaccidity of Hollywood and Culture-Distorter (Meta)Politics




For about a decade or so, I have tried to steer completely clear of Hollywood movies in general, especially nasty anti-white agitprop of the brain-dead neo-nutzi sort where skinheads and other ostensibly pro-white tattooed losers demonstrate that they are even less articulate and cultured than the ghetto negro crackhead and dope dealers that they so ruthlessly and venomously hate yet somehow I forced myself to watch the innately insipid and inanely idiotic Imperium (2016) directed by young Hebraic hack Daniel Ragussis who demonstrated a prior interest in Judaic studies with his short Haber (2008) starring Teutonic mischling Christian Berkel in the titular role as German-Jewish chemical warfare pioneer Fritz Haber. In fact, my main reason for enduring such fiercely phony ADL-approved celluloid shit is due to it being seemingly named after Francis Parker Yockey’s wonderfully arcane neo-Spenglerian tome Imperium: The Philosophy of History and Politics (1948), which is hardly the sort of book that is read by the tattooed neo-nazi degenerates, neo-confederates, and the various other sorts of terminally retarded and completely culturally deracinated would-be-stormtroopers that make up the so-called ‘white supremacist’ movement. In fact, while a copy of Yockey’s classic text Imperium can be briefly seen quite preposterously alongside Essays of a Klansman (1983) by Louis Beam (whose maritime KKK actions against Vietnamese immigrant fishermen seems to have partly inspired Louie Malle's shockingly horrendous late-era agitprop piece Alamo Bay (1985)), it has nothing to do with the film and simply seems to be the expression of the filmmaker’s fear of an almost mystical book that, quite unlike the cartoonish white nationalism of George Lincoln Rockwell, represents the zenith of post-Third Reich pro-Europid revolutionary thought as a 600-page metapolitical philosophical text as written by an American lawyer turned virtual one-man-revolution that, among other things, abandoned his post as a post-trial review attorney for the Nuremberg Trials while fighting against the Allied Occupation of Germany and later even wrote anti-Zionist propaganda for the Egyptian Information Ministry after an inspiring meeting with Egyptian President Gamal Abdel Nasser.

In short, Yockey, who had a genius IQ of 170 according to his extensive FBI records, is the sort of fearless Faustian Renaissance man that hysterical Hebraic types wish did not exist and the film is ultimately a piss poor pathetic attempt to ostensibly confront that ‘neo-nazis’ are not only people, but also that some happen to be intelligent and even extremely cultivated and far from the deranged dipsomaniac bonehead stereotype that absurdly finds a sense of racial identity by chanting Skrewdriver lyrics while chugging cheap canned beer with his similarly boorish bros.  Not surprisingly, the film fails in virtually every single regard while quite ironically and unintentionally making the neo-nazis, or at least the more cultivated ones, seem like the good guys, which is funny for a film that uses the played-out and oftentimes misattributed quote, “For evil to triumph, it only takes good men to do nothing” as a tagline. In fact, the only thing that could make the movie more carelessly cliche and intellectually bankrupt is if it featured some George Santayana quote about history or whatever.


Released around the time of 2016 United States presidential election when Donald Trump was still promoting borderline white nationalist ideals and the so-called alt-right and related groups horrified Hollywood and the mainstream media by revealing that pro-white subcultures are now actually cool and somewhat evolved since the largely lumpenprole days of less than elegant ex-con skinheads and bearded pseudo-Odinist LARPers, Imperium is less a serious movie than a considerably clueless PSA that was meant with the disingenuous intent to strike fear in Judaic and leftist elites about the very real possibility of a new white American consciousness that completely rejects the completely counterfeit multculti globalist con and corrupt kritarchy that America has become as a result of the undeniably steady decline of its elite Anglo-Saxon founders. A frivolous failure in virtually every single objective it seeks out to accomplish, the film ultimately also somewhat paradoxically attempts to comfort the sort of compulsively complacent idiots that believe in Hollywood negro scientists, reflexively reference the pseudo-scientific turds of Jared Diamond, and read The New Yorker like it were scripture, which is ironic when one considers the sheer cluelessness of this feckless filmic fart as a movie that confirms that the enemies of white nationalism simply do not understand as to why there is an organic reawakening of the blond beast despite being a largely racially European yet culturally mongrelized country where Nietzsche has never (and will never) be a household name. Of course, one should not expect anything less from a movie meant to appeal to the sort of bourgeois lemming losers that unwittingly adopted degenerate leftist politics as a result reading Harry Potter as children. 


Despite being a preposterously flaccid and superficially melodramatic pseudo-thriller sans action and suspense that has literally nothing going on for it, Imperium curiously seems to have been heavily promoted among the mainstream liberal intellectual elite as demonstrated by the extra features of the blu ray release of the film, which includes two different 30-minute The New York Times’ TimesTalks with Daniel Ragussis and Daniel Radcliffe where the non-auteur and his similarly intellectually languid lead actor try in vain to explain the idiosyncrasies of what is oftentimes described as the white nationalist movement as if they are trying to explain the behavior of exotic animals in a zoo. Undoubtedly, what becomes clear in these superficial interviews is that, aside from having an intrinsic racial disdain for these movements, Ragussis and Radcliffe have real no innate understanding of the contra-kosher subculture that they supposedly spent many months, if not years, apparently researching. For example, there is not a single reference to Yockey and his tome Imperium despite the latter strangely acting the inspiration for the name of the marvelously mediocre movie. Of course, the reality is that Imperium inspired many strange things both inside and outside the largely bankrupt WN movement. For example, before providing hipster cred to dead-eyed porn star Sasha Grey—a proud ostensible bad girl with a boy bod that is big on anal—David Tibet created an entire album entitled Imperium (1987) for his longtime neofolk project Current 93 in tribute to Yockey’s book and it features lyrics like: “The jews they crucified the Christ…And the jews they crucified the Christ…And nailed him to a tree…Imperium…Imperium…Imperium.” Additionally, before he ruined his life by getting involved with the so-called Manson Family, psychedelic musician Bobby Beausoleil—a tragic ‘acid fascist’ that created one of the greatest film soundtrack in cinema history for Kenneth Anger’s Lucifer Rising (1972) from the comfort of prison—found influence in Yockey and his book.

As for actual neo-nazis, Imperium has influenced figures ranging from National Renaissance Party leader James H. Madole to lone wolf advocate James Mason of Siege infamy yet his influence on these neo-nazi misfits seems to be more symbolic/superficial than truly (meta)political. Hardly an advocate of the stereotypical (neo)nazi view of race, Yockey—a dark-haired dude of mostly German and Irish stock that grew up in a cultivated Anglophile family—aggressively rejected ‘racial materialism’ in favor of a more ‘spiritual’ idea of race and thus has inspired some more seriously racially dubious stormtroopers over the years, including kosher Nazi Dan Burros, whose tragic life inspired Henry Bean’s The Believer (2001) starring Ryan Gosling, as well as tragic mulatto neo-nazi and would-be-terrorist Leo Felton. Of course, nothing in the moronic movie Imperium gives any idea as to the strange, singular, and oftentimes arcane influence of Yockey, which is, in a way, strangely fitting as the film dares to sympathize with the morally bankrupt plight of an unashamedly underhanded undercover FBI agent and the neo-Spenglerian philosopher was himself with victim of FBI oppression, which ultimately led to his mysterious death. 


The sad reality is that most films about neo-nazis/skinheads seem to be, at best, poor philistine attempts at reexamining the more sensational elements of Stanley Kubrick’s A Clockwork Orange (1971)—a film largely inspired by its celebrated NYC Jewish director's own conflicted view of Faustian man—in a painfully literal and one-dimensional fashion as is especially exemplified by the decidedly dumb yet somewhat entertaining Australian flick Romper Stomper (1992).  Of course, whacked-out Hebrew Tony Kaye’s overrated Edward Norton vehicle American History X (1998) is the most popular and beloved of these films and it fails miserably in its objective by somehow unintentionally romanticizing the white prole power subculture. Undoubtedly, Greek-French commie Costa-Gavras did a more respectable job with Betrayed (1988)—a film inspired by the real-life outfit The Order (aka Brüder Schweigen) and its founder/leader Robert Jay Mathews (who, notably, was burned alive by FBI agents during a disastrous standoff in December 8, 1984)—where the FBI is arguably portrayed as more criminal and terroristic than a neo-nazi terrorist group. Despite the film’s director and actors constantly attempting to claim one of their main objectives with the film was to try to humanize its rather stereotypical collection of neo-nazis characters, Imperium is no more successful in this regard to similar flicks to the point where Jeremy Saulnier’s Green Room (2015)—a neo-Carpenterian genre-crusher with vague arthouse qualities—takes a more nuanced approached to depicting skinheads despite being a horror-thriller where heroin-dealing neo-nazis utilize dogs to kill some dumb punk kids.

Although based on the professional experiences of a real-life ex-FBI agent by the name Michael German as detailed in his book Thinking Like a Terrorist: Insights of a Former FBI Undercover Agent (2008), Imperium never manages to seem like it is anything more than the careless and confused result of some SPLC researcher glancing over a couple Wikipedia articles on the most bland sort of white nationalist groups and then assembling what feels like a third rate detective story sans any serious detective work. Indeed, the only thing one really learns by watching the film is that FBI agents live pathetic lives that involve treachery and emotional exploitative and that they are much closer to the losers of Martin Ritt’s classic John le Carré adaptation The Spy Who Came In from the Cold (1965) than some glamorous alpha-male James Bond type as only the morally defective and uniquely unprincipled could pretend to be something they are not while exploiting the trust of people that already find so little to trust in the world. In that sense, it is a sick irony that such a film would be named after the magnum opus of Yockey who had so little trust for the government of his nation that he went renegade by defending the conquered people that said nation destroyed during the so-called Nuremberg Trials, thereupon completely throwing away a very potentially prestigious and lucrative law career in the process. 


If it was not obvious from his appearance and overall essence, Daniel Radcliffe is notably a chosenite so it naturally seemed like an absurd prospect when I initially discovered that he of all people would be pretending to be an undercover FBI agent LARPing as a neo-nazi. While I have personally known some rather racially dubious individuals associated with certain ‘pro-white’ and counter-kosher subcultures, including half-Jews and hapas, as it is a scene that—rather unfortunately but unsurprisingly—tends to attract a lot of unhinged and/or terribly troubled individuals, Radcliffe is just too painfully banal and mirthlessly milk-toast in his Judaic essence to ever be even remotely believable as an American neo-nutzi, hence one of the many reasons that Imperium is a fundamentally flawed celluloid shitshow that, at best, would only appeal to the already (kosher) converted. Admittedly, the idea of Harry Potter hanging out with tatted Hitlerites did seem like it could be potentially humorous in an unintentionally absurdist fashion, but the film even manages to fail in that regard as insufferably runty Radcliffe simply lacks the command and charisma of someone like Otto Preminger in terms of a Jew preposterously portraying a nazi. Hell, even with his relatively small secondary role as a paranoiac neo-Nazi in Costa-Gavras’ Betrayed, self-described “hillbilly Jew” Ted Levine makes a seemingly infinitely more convincing and captivating neo-brownshirt. I, for one, certainly have no problem with members of the tribe playing various types of National Socialists and anti-Semites so long as they bring the sort of fierce flare typical of Erich von Stroheim when he was depicting pernicious Prussian officers and Nietzschean monsters, but little boy Radcliffe has about as much life and potency as a meth-addled tranny’s chemically-castrated cock, but I digress. 


Undoubtedly, Radcliffe's glaring lack of believability as a soulless FBI stooge posing as a neo-brownshit is only transcended by the sheer and utter unlikeability of the ‘good guys,’ especially the shady bitch boy protagonist’s feministic FBI handler Angela Zamparo (Toni Collette). Indeed, when FBI agent Zamparo—an obnoxiously proud ‘nasty women’ that is certainly a painful reminder of Yockey’s words from Imperium, “Feminism liberated women from the natural dignity of their sex and turned them into inferior men”—notices that pussy protagonist Nate Foster (Daniel Radcliffe), who is, quite unsurprisingly, the annoyingly introverted and effete product of a single mother, seems particularly sympathetic towards a decidedly dark-skinned Jihadist that is more or less entrapped by some scheming FBI goons, she absurdly assumes he is autistic enough to go completely underground and learn to sympathize with neo-nazi types despite his strange affection for said dark-skinned Jihadist.  Needless to say, nancy boy Nate is not initially up for the job as he lacks both the testicular fortitude and sense of conviction it takes to pretend to be a hardcore Mein Kampf fan-boy, but the insufferably pushy Zamparo, who clearly suffers from a perennial case of Penisneid, eventually gets her way in what ultimately proves to be one of the most less than uniquely underwhelming and stale spy scenarios in cinema history to the point where the film seems like a personal affront to Alfred Hitchcock as a master of suspense.  In short, Imperium lacks virtually everything that makes Hitchcock's anti-nazi spy flick Notorious (1946) great and I say that as someone that has never had a hard-on for Hitch.

Starting nearly at the bottom of the white nationalist scene, Nate—a worm of a lad that is hardly the posterboy for white power prowess—first hooks up with a small-time neo-nazi leader named Vince Sargent (Pawel Szajda) while proclaiming to be a disgruntled Iraq War veteran that, due to his experience as a “WMD squad” bro, can offer special security to the less than motley skinhead crew. Although painfully idiotic in a cartoonish sort of fashion, Vince’s security guy Roy (Seth Numrich)—the sort of rabidly retarded, insanely irrational, and ultraviolent one-dimensional type that you tend to expect from a Hollywood neo-nazi flick—immediately rightly suspects that there is something fishy about Nate, but luckily the protagonist soon moves up the ranks of the white nationalist movement which, of course, has rather low standards and thus he only has limited interactions with the exceedingly erratic troglodyte Hitlerite.  In the hope of entrapping them in a terrorist plot, Nate simultaneously attempts to court both an odiously opportunistic white nationalist shock jock named Dallas Wolf (Tracy Letts)—a sort of Hal Turner type (who, of course, was a real-life FBI informant)—and a rather rotund white nationalist leader named Andrew Blackwell (Chris Sullivan) who is the national director of a group called ‘Aryan Alliance’ that espouses a sort of archaic Christian Identity Weltanschauung (of course, this group is modeled after the long-irrelevant neo-nazi organization Aryan Nations founded by shady porn star fan Richard Butler). Needless to say, like in the real-life white nationalist scene, infighting and wild posturing is common but terroristic behavior is a rarity, so Nate wastes a good deal of time before he can find some poor unwitting idealist to bust with his bullshit FBI scheme.  Rather preposterously, in the fiercely flaccid kosher-certified Hollywood fantasy that is Imperium, is is ultimately the most successful, cultivated, and respectable neo-nazi types that are involved in a terrorist plot.


In a film that trades in the probable for the pathetically propagandistic, it should be no surprise that the least likely sort of white nationalist type—a loving and well-educated family man of the highly intellectual, soft-spoken, and loving sort—is the one that ultimately gets busted in a monstrous terrorist plot. Indeed, gentleman Aryan Gerry Conway (Sam Trammell of True Blood)—an almost perturbingly pleasant pretty boy—is so wholesome that he detests when his skinhead comrades cuss and smoke around children and he is even cultured enough to confess that Leonard Bernstein is his favorite conductor when it comes to the musical compositions of Tchaikovsky (whereas the skinhead characters absurdly refuse to wear Levi's jeans simply due to their Judaic origins), yet he is totally enamored with the prospect of getting involved in a suicidal terrorist plot that involves utilizing caesium for a dirty bomb, as if such a senselessly destructive scenario will somehow bring about some sort of Aryan utopia and guarantee his place in Valhalla (notably, the film strangely uses Gerry's suicidal terrorist plot comments to allude to belated National Alliance founder William Luther Pierce via his favorite ancient Norse proverb and, in turn, the title of his bio The Fame of a Dead Man's Deeds (2001) by Robert S. Griffin).  While the Pierce-inspired Norse proverb is too good to be in the film, the following words do pay apt tribute to Yockey: “Cattle die and kinsmen die, and so must one die oneself. But I know one thing that never dies: the fame of a dead man’s deeds.

Needless to say, FBI stooge Nate is shocked that a mensch as calmly charismatic and cultured as Gerry could be a true blue Nazi but, as the family man explains, a youthful reading of a book called Which Way European Man (which is a clear reference to William Gayley Simpson’s classic WN tome Which Way Western Man? (1978)) and experiences living among black Africans in Kenya imbued him with a strong racial consciousness, especially in terms of his firm belief in terms of the cultural and, in turn, racial superiority of Occidental man. While there have been a couple American neo-nazi terrorist types like David Lane that were certainly not dumb, there has certainly never been one like white bread suburban racial warrior Gerry Conway and one can only come to the conclusion that the character has been contrived to strike fear in stupid normie lemming types that their relatively successful Nietzsche-reading neighbor might be a potential terrorist that wants to violently exterminate mamzers and other untermenschen from the world. In fact, Imperium concludes with Nate’s FBI buddies busting Gerry and other neo-nazi professional types in what can only be seen as a fantasy scenario for Hebraic Hollywood types that would love nothing more than for successful racially-conscious whites to die in prison and their kids be spiritually and psychologically (and probably physically) defiled the sickos of Sunset Boulevard. Indeed, the title of the film only makes sense when one considers how the FBI destroyed Francis Parker Yockey, who was unequivocally the most intelligent and cultivated person ever associated with American white nationalism and a rare example of an American WN that was, as Savtri Devi would describe, a ‘Man Above Time’ who exhibited creative life-affirming qualities and sought to transcend the process of Occidental decay.  Of course, Yockey was a somewhat mystifying rebel with certain libertine qualities and hardly a family man type like Gerry.

While Imperium revels in lies and half-truths, probably the most hyper hypocritical and all-around nonsensical message of the film is the claim that the “one essential ingredient to fascism” is “victimhood,” as if that is not really basis for virtually all forms of leftist politics and, in turn, identity politics.  Indeed, considering we now live in a country with a slave-morality and victim culture where one's supposed moral superiority is based on what victim group they belong to, it is pretty hilarious that the film would accuse fascists of playing victim when many modern-day fascists were largely inspired to become fascists due to their disgust with victim politics and phony concepts like “equality,” which ultimately drags society down to the lowest common denominator at the expense of superiority.  While there are undoubtedly various WN types with victim mentalities, it is simply a form of racial projection (especially in Hollywood's case) to accuse racially conscious whites of suffering from a victim mentality simply because they have identified a hostile group that is working against their interests.  Indeed, one does not need to be a neo-nazi to clearly see that there is currently a war against America's largely silent white majority.



Undoubtedly, the petty propagandistic nature of Imperium becomes quite clear when one considers that the film’s ex-FBI agent co-writer Michael German and co-writer/director Daniel Ragussis were interviewed by the anti-white goons of the moronically misnamed Southern Poverty Law Center. Somewhat shockingly, German goes against the grain of the SPLC agenda in the interview and argues against the de-platforming of WNs and other right-wingers, stating, “The vast majority of neo-Nazis strongly believe what they believe and don’t want to share that side of themselves with the rest of society. They’re completely peaceful and have their website, where they can go invent their ethnostate and [organize their] conference once a year. I’m completely fine with that and more power to them; I will defend their right to do that. This idea that we have now of twitter-takedowns and social media-takedowns I think is very dangerous. From my experience within the violent fringe of this movement, that’s exactly what they want. As soon as people feel like they can’t express themselves and can’t engage with others about their ideas, that’s when the person on the fringe who says, ‘No, you have to use violence to change things,’ becomes more convincing.” Of course, this interview was conducted in February 2017 a number of months before the disastrous Unite the Right rally in Charlottesville, Virginia, which led to the hysterical unprecedented mass-banning of WNs from social media sites, banning of alt-right sites like The Daily Stormer by several domain registrars, and complete deplatforming of pro-white politics from pretty much everywhere on the internet aside from the fringes. In short, the Tech companies, mainstream media, Hollywood, and United States government have colluded to create a sort of post-bolshevik softcore authoritarianism that will ironically guarantee the rise of WN terrorists who, feeling they have nothing to lose, will lash out, but maybe that is the point.  After all, it does not exactly help the white identitarian movement for unhinged nut-jobs to go on rampages, so it is rather curious that Imperium somehow depicts the nicest and most morally pristine of white nationalist types as a potential mass-murdering terrorist.



Notably, as recounted in the book Manson: The Unholy Trail of Charlie and the Family (2000) co-written by John Gilmore and Ron Kenner, Bobby Beausoleil, who once appeared as ‘Lucifer’ alongside experimental auteur Kenneth Anger as he waves a swastika flag in the film Invocation of My Demon Brother (1969), declared a somewhat conflicted affection for Yockey and Imperium. Indeed, Beausoleil, who was originally given the death sentence for killing his leftist hippie dope dealer friend Gary Hinman, once stated, “I had this image in my mind of a sword—like it’s pictured on the cover of a book called IMPERIUM, by a guy the FBI was hounding and busted into infinity . . . a hated and feared man by the name of Francis Yockey. He wrote that book under the name of Ulick Varange, a pen name. It was a big book and I read it a lot—studied it and tried to make as much of it as I could—but my course was different. There was something about it—some passive idea that kept me put off by it. I finally would come to believe that I was a man of action, I had to go through things no matter what they were or how dangerous they may have seemed to someone on the outside.” While Beausoleil would go on to create one of the greatest original film scores of all-time for Anger’s Lucifer Rising—a film he was originally also supposed to play the titular the role of—he more or less completely wasted his life by getting involved with the misfit Manson Family and would have probably led a more artistically fruitful life had he stuck with Imperium, which inspired the late-1960s proto-neofolk group Changes led by cousins Robert N. Taylor and Nicholas Tesluk. Indeed, contrary to the confused covert message that the film attempts (and fails) to make about the tome—a virtual real-life Necronomicon for white nationalists (notably, like Yockey, H.P. Lovecraft was heavily influenced by Spengler)—Imperium is a metapolitical text of great artistry that has proven to greatly inspire an artist’s complete Weltanschauung. As for the movie Imperium, it can only inspire disdain for Hollywood and the FBI, which is completely fitting since both are largely Hebraic harbingers of anti-aesthetic authoritarianism and asininity. 



While Yockey originally wrote Imperium in 1948 long before the internet was created, his following words are still fairly accurate, “The techniques of American propaganda is inclusive of every form of communication. The leading instrument is the cinema […] During the period of war-preparation, 1933-1939, the cinemas produced an endless succession of hate pictures directed against the European Revolution of 1933, and its 20th century outlook and actualizations.” Needless to say, even Imperium—a film that repeats the lie that Oklahoma City bomber Timothy McVeigh was some sort of white supremacist terrorist simply because he sold copies of The Turner Diaries (1978)—proves that Yockey was clearly right and that little has changed in terms of agitprop when he wrote in regard to WWII era propaganda, “The propaganda was entirely free from any cultural basis, and was completely cynical with regard to the facts. Precisely as the cinema-factories of Hollywood ground out lying plays and ‘newsreels,’ the propagandists of the press created what ‘facts’ they need.” When an autistic part-Jewish nerd diagnosed with schizophrenia by the name of James Fields panicked and crashed his car into some far-left protestors at the 2017 Unite the Right rally in a scenario that is, in some ways, eerily similar to a scene in Imperium and it resulted in the death of a protestor, the mainstream media immediately used the opportunity to unleash a nonstop war on white nationalists and the FBI director at that time even absurdly called it an act of domestic terrorism, thereupon leading to countless frivolous arrests and lawsuits against WN leaders that never even heard of troubled mischling Fields. Of course, a movie like Imperium gives one the impression that such a stupid tragic scenario would inevitably happen, as if the movie was specifically made with the intent of psychologically conditioning Americans for a major clampdown on pro-white voices.  Either way, as Yockey's lead demonstrated, both rallies and protesting are completely worthless and can only lead to negative press, among other things.



One reason that Imperium is a strangely fitting, if not incredibly insulting, name for the film is that there exists more than a thousand pages of once-classified FBI documents on Yockey and his revolutionary internationalist exploits as a renegade neo-Spenglerian on the run. In fact, in many ways, Yockey would have made for a great FBI undercover spy as he engaged in purported fascist espionage with a sense of humor. An individual described by the FBI as a loner and “secretive individual who did not tolerate anyone who would not wholeheartedly agree with his solution to world problems,” Yockey never used his real name when phoning associates and even signed his letters with the pseudonym “Torquemada” in tribute to the Spanish Grand Inquisitor of Jewish descent from the Middle Ages who persecuted Jews.  Somewhat perversely, Yockey even was a sort of warped James Bond when it came to the ladies and even apparently bashed the gashes of wealthy Hebraic Heiresses for cash or as Martin A. Lee explained in the book The Beast Reawakens (1997), “A relentless womanizer, Yockey had plenty of bed partners when he came to New York, including Hazel Guggenheim (sister of Peggy, the famous art collector and philanthropist). An oft-married Jewish woman of rather large proportions, Hazel dyed her hair blond, wore heavy purple eyeliner, and smoked cigarettes in a long cigarette holder. Apparently she liked young men and found the idea of sleeping with a fascist particularly appealing. ‘I am sure he received some financial remuneration for any services rendered to her,’ alleged [Harold Keith] Thompson.” Of course, all this talk of Yockey points to the fact that there should exist a very different film entitled Imperium as Yockey’s real-life is infinitely more interesting than the dubiously shadowy tactics of any shady FBI spook. Indeed, in a sane world, Yockey would hold the reputation that some shadowy commie revolutionary like Che Guevara—a sociopathic rich kid of the hardly racially sensitive sort that has countless crappy films directed by whorish hacks ranging from Richard Fleischer (Che! (1969)) to Steven Soderbergh (Che (2008)) made about him—maintains today among rebellious teenagers as his face would certainly look much better on a t-shirt (though, of course, Yockey is too good for such tacky corporate branding), but we unfortunately live in a morally and spiritually inverted world where many young kids have their aesthetic and moral tastes destroyed by hokey Harry Potter films where the villain Lord Voldemort is of course a fiendish blood-obsessed fascistic Führer of sorts. After all, in a sensible world, Daniel Radcliffe would portray ressentiment-ridden evil nerds instead of mercurial heroes but, as Yockey would have noted, such is one of the many consequences of the rise of the culture-distorter as a result of Europe being completely destroyed in two World Wars.



In an unpublished 1940 manuscript entitled ‘Life as an Art’ that he wrote at 23-years-old while still a student at Notre Dame University, Yockey made it quite clear the difference between himself and a FBI stooge like the hero of Imperium when he wrote, “Higher men and lower men—the few called to rule and the masses born in order that the higher men may actualize a grander destiny—differ in spirituality so much that they cannot be comprehended otherwise than as two different species. In all reverence it can be said the lower men rely on God and the higher men on themselves. This basic natural hierarchy is the fundament upon which rests all practical philosophy of human nature. It must therefore be definitively set forth.” After all, whereas Yockey lived and died for his quite singular metapolitical vision, Daniel Radcliffe’s character is such a superlatively soulless little worm that he is even willing to get a Nazi tattoo that represents something he completely hates just so that he can play the good little whore of a government agency that is rarely associated with any sort of good. While Yockey was right when he recognized that Hollywood trash movies spread the message of “the total significance of the isolated individual, stateless and rootless, outside of society and family, whose life is simply, the pursuit of money and erotic pleasure,” the one exception to this spiritually moribund message of passive hedonistic nihilism is moronic agitprop movies like Imperium and American History X where the white American is taught they should always actively fight against the interests of their race as well as against those white individuals that dare to fight for their race, as if it is totally sane and normal for any other living organism to fight against its own survival.

As a literal genius and highly cultivated artist of the somewhat wanton and womanizing sort that spent a good portion of his life traveling the world in the hope of helping to create a Europid Imperium, Yockey breaks virtually all the tired stereotypes associated with (neo)fascist types and that is why it was so important for Hollywood types to disgracefully name a film after the book he is best known for. Considering he was once punched in the nose by (in)famous British Union of Fascists leader Sir Oswald Ernald Mosley, had a propensity for imitating misanthropic film comedian W.C. Fields, enjoyed holding fascist meetings at expensive Jewish luncheonettes, and remains the most exceedingly enigmatic neo-fascist figure in history despite having two lengthy biographies dedicated to him, Yockey is a name that demands an epic biopic but, rather unfortunately, that is probably even less likely to happen than his dream of an Imperium, though somehow I can see Johnny Depp of all people playing the role. After all, both Jodie Foster and Steven Soderbergh have attempted to create a Leni Riefenstahl biopic. In terms of living filmmakers, only Teutonic auteur Hans-Jürgen Syberberg is intelligent, politically astute, and creative enough to assemble a truly visionary depiction of Yockey’s somewhat tragic and stranger-than-fiction life and considering that the American political revolutionary—a man that tried to help German philosopher Carl Schmitt escape political persecution during the Nuremberg Trials and later even earned the respect of German ace fighter-pilot Hans-Ulrich Rudel—was such a hardcore Teutonophile, it would only be fitting. 


 The patent absurdity of a film about modern-day neo-nazis being entitled Imperium becomes quite clear when one considers that American Nazi Party Führer George Lincoln Rockwell—arguably the single most influential figure on the largely pathetic joke that is post-WWII American neo-nazi scene who was curiously the son of a vaudeville performer that was pals with celebrated Jewish comedians like Groucho Marx—was vocal in his hatred for Yockey who he described as a “Strasserite” in anti-tribute to Uncle Adolf’s ‘left-wing nazi’ rivals Gregor and Otto Strasser. Even four years after Yockey’s death, Rockwell, who was himself assassinated a couple years later under dubious circumstances supposedly by a disgruntled Greek-American (ex)stormtrooper, would complain,“There is rising all over the world, among hard-core National Socialists, a new cult of what I call Yockeyism. I found much of interest in Yockey’s book IMPERIUM and actually helped promote it. But the cult founded on this man is dangerous and, I believe, in some ways downright evil.” Of course, both brain-dead neo-nutzis and kosher commies alike probably have nothing to fear as it has been over 70 years since the publication of Yockey’s magnum opus Imperium and it is quite unlikely that it will ever become a sort of new Mein Kampf as it is just too arcane and aesthetically pleasing to ever appeal to the masses, even if the white nationalist ideas began to flourish among the American mainstream. After all, in Nazi Germany, Mein Kampf was much more popular than National Socialist philosopher Alfred Rosenberg’s innately more interesting and intelligent tome The Myth of the Twentieth Century (1930), just as Rockwell’s own virtual Mein Kampf, This Time the World (1961), is considerably more popular than Imperium among WN types today.

Needless to say, Yockey is not only hated among raging Rockwellite types as he oftentimes is referenced in a negative sense by neo-fascist and neo-nazi types even though very few have actually read his work.  For example, while white nationalist scholar and professor Revilo P. Oliver—an old school far-right intellectual and professor with a legit palindromic name who once testified before the Warren Commission in regard to the JFK assassination—went to the effort of carefully criticizing Yockey's views with an entire book entitled The Enemy Of Our Enemies (1979), the majority of his critics simply rely on libel, dubious rumors, and downright ludicrous lies like in the obscenely dumb anti-occult text Satanism and its Allies: The Nationalist Movement Under Attack (1998) anonymously co-authored by writers from the British neo-nazi magazine Final Conflict who describe Yockey as “part-Jewish and homosexual” despite the Imperium author's well-known womanizing escapades and hardcore counter-kosher activism. In the end, it might be best think that Ludwig II of Bavaria was also practically speaking for Yockey when he once famously stated, “I wish to remain an eternal enigma to myself and to others.”  Incidentally, Yockey once wrote, “The articulation of the Culture has three aspects: the Idea itself, the transmitting stratum, those to whom it is transmitted [...] Who knows whether we would have Wagner's greatest works but for Ludwig II? [...] Not everyone can play a great role, but the right to give meaning to his life cannot be taken from a man.”  Somehow, despite his relative obscure, I think the full meaning of Yockey's life remains to be seen.


Unlike glorified agitprop director Daniel Ragussis and most of the rabble associated with supposed neo-nazism, Yockey was first and foremost an artist so it is only natural that Imperium—a book that, not surprisingly, is more talked about than actually read—will forever remain a text appreciated by a special sort of artistic type that dreams of a world that will never be. Somewhat absurdly optimistic for a Spenglerian, Yockey, like all serious artists, lived to create a completely new world so it comes as a great insult that a film bearing the name of his revolutionary text could only dream up a painfully banal and superlatively soulless vision of the ghettoized neo-nazi scene that the philosopher-cum-revolutionary’s intellectual nemesis Rockwell is largely response for inspiring. Of course, considering Rockwell’s background as a cartoonist, it almost seems like tragicomical kismet that his ultimate legacy would be something akin to the grotesque image of a morbidly obese Amero-mutt sporting a homemade SS Halloween costume while hysterically screaming lowbrow racial slurs to similarly unsightly and racially dubious protestors protestors. While Francis Parker Yockey will never be a household name, he has at least inspired some interesting art from the likes of Current 93 and NON/Boyd Rice and will probably continue to inspire it well into the future considering the unfortunately imperative rise of racial consciousness among American Europids—a mongrelized group that, as Yockey noticed, is unfortunately decidedly more deracinated and culturally retarded than its mainland European brothers—in the zio-globalist age of Occident decline.

Rather unfortunately, modern-day pro-white movements tend to focus on the negative and critiques and thus are starting to resembling the sort of leftist anti-culture that Yockey critiqued when he wrote, “Liberalism can only be defined negatively. It is a mere critique, not a living idea.” Undoubtedly, one of the greatest things that one can learn from Yockey comes from his words, “But creative force—this will remain forever incomprehensible to those, far more than 99% of humanity—who cannot see deeply into the soul of Culture-man—IS AT BOTTOM ARTISTIC. In the deeps the will-to-power merges with the aesthetic instinct. In the brief moment of satisfaction which follows the completion of a work—a novel, a building, a suspension bridge, a symphony, a victorious battle, the soul of a higher man feels an intense and profound aesthetic satisfaction in the form of self-reverence and a feeling of union with the essence of Being.” While just speculation, somehow I doubt the creators of Imperium felt the ‘profound aesthetic satisfaction’ that Yockey speaks of when they completed their agitprop abortion.  Indeed, politics aside, the film can, at best, be seen as an excremental exercise in anti-aesthetic whoredom where artistic, intellectual, and philosophical integrity are completely compromised in a fundamental fashion that speaks to the superlative soullessness of its creators, but I guess one should not expect anything less from an FBI-approved neo-nazi spy flick starring Harry Potter.  While the film attempts to make a profound statement about cultivated Yockey-esque types with the Lord Byron quote, “This should have been a noble creature: he hath all the energy which would have made a goodly frame of glorious elements, had they been wisely mingled,” the creators are not even worthy of such a remark as they lack any noble or glorious elements and instead symbolize midbrow mediocrity at its most self-deceptively dull, unwittingly disingenuous, and cowardly conformist as a movie that even has less value than the vintage doc Blood in the Face (1991). Instead of watching the movie, I recommend that one read Yockey's Imperium and other texts, the anti-Yockey bio Dreamer of the Day (1999) by Kevin Coogan and pro-Yockey bio Yockey: A Fascist Odyssey (2018) by Kerry Bolton, and then contemplate that great sort of film that could be made about his life and struggle.  Unfortunately, I fear there will soon by a time in a generation or two when few, if any, understand Yockey's words because, as his great intellectual influence Oswald Spengler once recognized in regard to the precarious nature of art, “One day the last portrait of Rembrandt and the last bar of Mozart will have ceased to be—though possibly a colored canvas and a sheet of notes will remain—because the last eye and the last ear accessible to their message will have gone.”



-Ty E

No comments: