Vanguard News Network

Oy veh, just when you think you have someone completely blacklisted, what happens?

[Article]. Official “regrets” [Here].

Trivia, newbies: the 1919 Versailles Treaty was such a bad idea that even British leader Lloyd George came to realize it. Hitler was in the right and the “allies” were in the wrong, plain and simple. Further, Jews advised the top leaders at the 1919 treaty conference – in other words, the treaty was Jewed from the start [1][2]:

[Article].

[1] “In the early spring of 1922, Lloyd George came to the conclusion that the Treaty of Versailles had been an awful mistake…” – from the book “The Kings Depart: The Tragedy of Germany: Versailles and The German Revolution” by Richard M. Watt, 1968, Barnes and Noble Books version, 2002, p. 513

[2] Lloyd George was advised at the treaty conference by a powerful Jew, Phil Sassoon

by Kevin Michael Grace.

“When American leftists dream, they dream of Canada.

North of the border, we’ve had socialized medicine since 1965; abortion on demand (pretty much) since 1969 (and with no restrictions whatsoever since 1988); official multiculturalism since 1971; and nationwide gay marriage since 2005. All this, and higher Third World immigration, relative to our population, too.”

[Article].

The true nature of the Jews, here:

[Article].

“Gofman” – that doesn’t sound Irish, does it? (Note comment #16 under the article):

[Article].

“The most critically acclaimed film in the history of Polish cinema”:

[Article].

More about the movie: [Here].

Look: several illegalis mexicanus in their natural habitat!

[Article]. Close-up photo: [Here].

Great news. Now the Canadian government can pay James Keegstra millions of dollars in compensation (after issuing a formal apology to him), right?

[Article].

As if Blacks care about anything beyond what they can eat, drink, smoke or screw:

[Article].

by Gott.

Hawks was a major Hollywood player from his first sound film in 1930 (The Dawn Patrol) to his last film in 1970 (the sadly bad Rio Lobo). He came from money and class – his family arrived from England in 1634, farmed where Boston now stands and went on to found and pretty much own Goshen, Indiana. An anomaly in Hollywood, Hawks was gentlemanly and elegant, an aristocratic WASP in a town otherwise full of poor Irish (most of the actors and directors) and grasping eastern European jews (surprise – producers and owners).

Hawks made the kind of films he wanted to, he spent jew money to make them and most of the time he got his own way. For Hawks a big part of the challenge of moviemaking was in outwitting the hated producers, who were mostly jews. Similar in many ways (both tall, handsome and Aryan – as un-jewish looking and acting as is possible), Howard Hawks and Howard Hughes had a career-long on-again, off-again relationship through which both tried to break the stranglehold of the Hymiewood Studio System. Hawks worked on Hell’s Angels and The Outlaw, and directed Scarface (his favorite of his own films), The Thing and The Big Sky for Hughes. Even with his muscle and money, ultimately Hughes’ production attempts failed in the face of the solidarity of Hollywood jew opposition.

Hawks’ great talent in the toughest of all moviemaking jobs – direction – guaranteed his place at the top of the Hollywood pack with or without Hughes. Though his yid bosses wanted poisonous ‘message pictures,’ Hawks disobliged them – his films are instead character studies. These characters are all White, are unapologetically and proudly men, do not have emotional or psychological problems (are not fucked up) or unnecessary dark sides. Freudian mumbo-jumbo was not for Hawks and you won’t find it in his movies. Even in Red River, where J. Wayne’s Tom Dunson is scary indeed, rational reasons are provided to explain the temporary deterioration of the character.

Cool, emotionally mature, good at what they do and good with women, Hawks’ men work together for the common good. His movies are almost all engineered around men integrating into a group and pooling their expertise in order to surmount an otherwise insurmountable problem or defeat an otherwise undefeatable enemy. Whether it be an America brought low by Pearl Harbor and fighting against what seemed like impossible odds (Air Force), or a bunch of Army jocks and practical scientists being slowly devoured by ‘an intellectual carrot from outer space’ (The Thing), or a crippled old geezer (Walter Brennan), a gruff old codger (J. Wayne), the town drunk (Dean Martin) and a green kid (Ricky Nelson) up against an army of professional killers (Rio Bravo), Hawks’ men learn how to work together, and in doing so, they not only win but find the pleasures and rewards of friendship and community.

How well you do your job is the measure of a man in the Hawks worldview. If a man is good at what he does, by logical extension, he will be a good man, and a winner. Men who do their jobs badly will be bad men.

Self-control is an important quality in Hawks films. The actors who most perfectly embody the Hawks man are Humphrey Bogart, Gary Cooper, John Wayne and Cary Grant. The characters they play are idealized versions of Hawks himself, being emotionally reserved and guided by logic rather than by emotion – sometimes obsessively so. These men do the smart thing because they are not blinded by their feelings. For one of many possible examples, in Rio Bravo, Wayne’s character lives and wins while Ward Bond’s character dies because Wayne knows when to keep his mouth shut (an aspect of his all-round professionalism) while Bond blabs without considering the consequences.

Through naturalistic surfaces, Hawks pitches a philosophic message which is fundamentally stoic. Life is finite; there is nothing before and nothing after physical existence. This partly explains the lack of back stories in the presentation of Hawks’ characters, and the director’s disinclination to suggest what might happen after ‘the end.’ Everything is in the here and now in Hawks films. A fundamentally positive and hopeful artist (most of his films are formally comedies as even the most dramatic ones generally end positively), in telling us that there is no afterlife, he also tells us to therefore make the best and the most of every minute we have. Don’t waste your time, don’t sit around but rather be active and get things done.

Hawks’ women are no different from Hawks’ men in that he likes the smart, independent, sensible and capable ones and doesn’t have much good to say about the others. When a woman says she can take it and then can’t (for instance, Dolores Moran’s character in To Have and Have Not), at the director’s bidding we see she is second-string, and lose respect for her. When in the same movie Lauren Bacall’s Slim proves she can take it, we admire and desire her as much as Hawks does.

Though Hawks worked with the same men over and over again, he rarely worked with an actress more than once. That mirrors his life in the same way that his thematic interest in men coming together in group endeavor does. Hawks put his work first, which his mostly trophy wives (4) and mistresses (too many to count) learned to their sorrow. But after work comes relaxation. If you want to play God, become a movie director, because you too get to make the world in your own image. If you are a sadist, become a movie director, as everybody has to do exactly what you tell them to do, and if it hurts, or is humiliating, too bad. Filmmaking is intensely intimate, and the director is the boss – if you want to get laid by the most beautiful women in the world, become a movie director.

Hawks didn’t play God, partly because he didn’t have a spiritual dimension – physical reality counts for everything in his films. Hawks was no sadist. But he did sleep around. He bedded most of his leading ladies, the second leads in his films (whose roles are often only there for that reason – for example, the French girl in Hatari!) and many of the biggest movie stars in Hollywood. He liked his women lithe, athletic, classy, and understated. Marilyn Monroe, who he directed twice, he thought a joke, and he treats her as a low parody – obvious, gross, and cartoon-like. If you want to see the kind of girl Hawks found attractive, take a look at The Big Sleep, in which Bogart plays the surrogate Hawks figure. This anti-film noir (the positive, upbeat director had no interest in this most neurotically jew of all jew genres), only genuinely functions on one level – as a sexual conquest fantasy. Every girl Bogart’s character meets is a typical Hawks woman. They are all sophisticated, sporty and smart – and eager to get in his pants. He cannot take a taxi, or duck into a bookstore, without being propositioned. Hawks pretty much lived the comedy-fantasy enacted in The Big Sleep. To get Howard’s attention, a woman had to have class. In old Hollywood, plenty did.

There were no temperamental fits on Hawks’ shoots (for instance, he never raised his voice, saying if anyone was going to get an ulcer from moviemaking it was not going to be him), he had no ego problems, and he was truly interested in good ideas no matter where they came from (actors, bit players, crew members, etc.). Because of his sensible, down-to-earth manner, and his expertise in direction, a good time was generally had by all on his productions. Reflecting his popularity with crews and the respect actors had for him, over and over again Hawks worked with the same cameramen, the same composers, the same editors, producers, technicians, and with a lot of the same actors. He lived the community philosophy of his movies.

Hawks’ filmmaking techniques are so subtle and refined that in watching his films the viewer is generally unaware that such a thing as technique exists – it becomes ‘invisible.’ From this perspective – there are other ways to come at the issue of technique – Hawks films are as good as they get. There is plenty to say (this article isn’t the place to say it, though) about the writing, his use of space to communicate information and atmosphere, the lighting, framing and the staging of action. His superb handling of actors (when the chemistry was right, as without it, the results could be awful) was based on mutual respect and on the director’s encouragement of improvisation in dialogue (the delivery of which, in His Girl Friday, is the fastest ever clocked). Editing in Hawks films (continuity editing or cutting on motion, which is the hardest to do) is particularly outstanding.

See his best pictures because they are among the finest American movies (and in his case that is American, not AmeriKwan), because they are unapologetically, exhilaratingly White, and because they present men as rational, in control, and awesomely competent. They are also terrifically good times (he made 11 major movies in a row which were box office smashes, a record he holds to this day). People went to his movies, not even knowing his name, because they are the best. Hawks movies are inspirational and are full of sensible advice about what is important in life and how to live it.

If you want pro-White movies, with a pro-White message, you can’t do better than Howard Hawks. He’s what our world used to be, and he managed to portray it with jew money! See if you can do that.

The best Hawks films: The Criminal Code, Scarface, Tiger Shark, Twentieth Century, Bringing Up Baby, Only Angels Have Wings, His Girl Friday, Air Force, To Have and Have Not, Red River, The Thing, The Big Sky, Rio Bravo, El Dorado.