[←190]
Henry James, Hawthorne, ch. 4, “Brook Farm and Concord,” http://www.online-literature.com/henry_james/hawthorne/ 4/
[←191]
http://dieoff.org/
[←192]
http://mauryk2.wordpress.com/2010/09/19/the-shifting -other-american-hysteria/
[←193]
For example, “It isn’t ancient Sparta (like 300), or The Trojan War (as in Troy). But make no mistake, De Palma brings to The Untouchables the same archetypal flourishes we might reasonably expect in any cinematic depiction of those legends. He transforms real historical figures into larger-than-life scoundrels, saints, and angels. As dramatized by De Palma, The Untouchables is nothing less than the Timeless Heroic Poem of Avenger Eliot Ness.” See John Kenneth Muir’s Reflections on Film/TV, Friday, July 31, 2009, at http://tinyurl.com/yf2psv7.
[←194]
I want to emphasize that these reflections are based on the Brian De Palma film, not the 1950s TV show, the autobiography Ness wrote near his death to make money for his family, or “actual” history, whatever that is. For what it’s worth, “the real Al Capone and Eliot Ness never met face-to-face; there were eleven ‘Untouchables’ who all lived after Prohibition; but most notably, the real Frank Nitti lived several years after Capone’s conviction, rather than being thrown off a roof by Ness” (tvtropes.org). Incredibly, though, the most absurd scene (other than the train station shoot-out), namely, the switching of the juries, really did happen. As Aristotle said, art was more true than history, as it narrates what ought to be.
The script is by David Mamet, who here, and in Glengarry Glen Ross, shows a most un-Judaic, perhaps unconscious, understanding of male group dynamics.
Finally, it needs to be pointed out that it is emblematic of the misunderstanding, at times perhaps deliberate, of Tradition by Westerners and Westernized Hindus like Gandhi, to portray as “untouchables” the supposedly downtrodden lowest castes. Actually, the Untouchable was the highest caste, the Brahmin. See Alain Daniélou, The Way to the Labyrinth: Memories of East and West, trans. Marie-Claire Cournand (New York: New Directions, 1987), p. 137, where he adds “One of the most typical characteristics of the European mentality is the ability to present everything backwards.”
[←195]
Hans Blüher, Wandervogel: Geschichte einer Jugendbewegung (Berlin-Tempelhof, 1912/23); Die Rolle der Erotik in der männlichen Gesellschaft: Eine Theorie der Menschlichen Staatsbildung (Jena, 1917/19). Neither has ever appeared in English, other than a few excerpts, but see Alisdair Clarke’s “Hans Blüher and the Wandervogel,” a talk from sixth New Right meeting in London, February 2006, available at http://tinyurl.com/24cwn5f.
[←196]
“It was this Männerbund, in which the qualification of ‘man’ had simultaneously an initiatory (i.e., sacred) and a warrior meaning, that wielded the power in the social group or clan. This Männerbund was characterized by special tasks and responsibilities; it was different from all other societies to which members of the tribe belonged. In this primordial scheme we find the fundamental ‘categories’ differentiating the political order from the ‘social’ order. First among these is a special chrism—namely, that proper to ‘man’ in the highest sense of the word (vir was the term employed in Roman times) and not merely a generic homo: this condition is marked by a spiritual breakthrough and by detachment from the naturalistic and vegetative plane. Its integration is power, the principle of command belonging to the Männerbund. We could rightfully see in this one of the ‘constants’ (i.e., basic ideas) that in very different applications, formulations and derivations are uniformly found in theory or, better, in the metaphysics of the State that was professed even by the greatest civilizations of the past.” See Julius Evola, Men Among the Ruins: Post-War Reflections of a Radical Traditionalist, ed. Michael Moynihan, trans. Guido Stucco (Rochester, Vt.: Inner Traditions, 2002).
[←197]
Available at http://lulu.com/spotlight/lokisway. Grimsson, by the way, agrees with Aristotle when it comes to dealing with history: truth is “more often than not in myth legends, traditions and symbols; literal history needs to be decoded by it, not vice versa” (p. 19).
[←198]
Grimsson, p. 7.
[←199]
Grimsson, p. 89.
[←200]
Grimsson, p. 7.
[←201]
http://tinyurl.com/yf2psv7
[←202]
One could argue, in another essay, that the particular law, Prohibition, was itself responsible for the breakdown in respect for the Law as such, as well as providing the entrée for Capone. In this way, Prohibition is a synecdoche for the Judeo-Christianity which brought about the regression of the castes, or degeneration of the functions, by demonizing the Männerbund (Judaism’s well-known and unique “homophobia”). See Grimsson, ch. 6. In addition, not only did ordinary citizens learn to fraternize with criminals, they also became accustomed to hobnobbing with Jews, the financier and businessman par excellence, and even welcoming them into their homes. Once more, the small town Protestants, in their war against big city immigrants, shot themselves in the foot.
[←203]
Tony Tanner, “Introduction” to the Oxford World Classics edition of Moby Dick (Oxford: Oxford University Press, 1998), p. xix.
[←204]
Jack Donovan, The Way of Men (Portland, Or.: Dissonant Hum, 2012).
[←205]
“. . . the point is that a ‘group’ is the beginning of everything. One man can do nothing, can attain nothing. A group with a real leader can do more. A group of people can do what one man can never do.” G. I. Gurdjieff, quoted in by P. D. Ouspensky’s In Search of the Miraculous: Fragments of an Unknown Teaching (New York: Harcourt, 1949), p. 30.
[←206]
In Search of the Miraculous, p. 222.
[←207]
While Connery won his only Oscar for the role, his performance has been voted “Worst Movie Accent of All Time” in several surveys over the years; in 2009, his runner up was co-star Kevin Costner, for Robin Hood: Prince of Thieves. See http://tinyurl.com/boy79nv
[←208]
Grimsson, p. 65.
[←209]
Grimsson, p. 79.
[←210]
Interestingly, the real Capone was married, like the standard Mafia “family man,” but in the movie we see no women anywhere around him or his mob, and Capone lives in sybaritic splendor in a swank hotel suite. Malone also lives alone, but in a rundown apartment; also like Capone, he listens to opera, but on a gramophone, not at a meet-and-greet with Caruso. Unlike Capone, or Ness, he cooks for himself, and even serves Ness tea; all somewhat unmanly traits by the social standards of the time, but right at home in the world of the Männerbund.
[←211]
Grimsson, pp. 90–91.
[←212]
Greg Johnson, Confessions of a Reluctant Hater (San Francisco: Counter-Currents, 2010), pp. 12–13.
[←213]
Donovan, The Way of Men, ch. 2.
[←214]
Grimsson, p. 95.
[←215]
Grimsson, p. 90.
[←216]
Grimsson, p. 93.
[←217]
Grimsson, p. 94.
[←218]
Grimsson, p. 36.
[←219]
Grimsson, p. 90.
[←220]
Grimsson, p. 97.
[←221]
Grimsson, p. 98.
[←222]
Grimsson, p. 101.
[←223]
Discussing this “Language of the Birds,” René Guénon recalls that in the Gospels the “birds of the air” that settle in the branches of the tree that grows from the mustard seed of faith, represent angels in various levels of the spiritual hierarchy, the tree itself being the World Tree which links all the levels, bringing us back to Odin’s hanging, the bridge at the border, which like the tree is a means of changing states, and even the
airplane flight with which the sequence opens. See The Sword of Gnosis: Metaphysics, Cosmology, Tradition, Symbolism, ed. by Jacob Needleman (New York: Penguin, 1988), pp. 299–300.
[←224]
Malone’s literally operatic death has been mocked endlessly; even Connery refused to do more than two takes, saying it epitomized “everything he hates about moviemaking.” See http://www.moviedeaths.com/untouchables,_the/jim_malone/
[←225]
Baron Evola observed that the Magus, despite his powers, may appear poor, downtrodden, or even in danger of death or injury in this realm, precisely because of his achievements in the higher realms, due to the law of cosmic compensation.
[←226]
Nitti is the shape-shifting Malone’s own double. He’s dressed entirely in white, which is a nice flipping of conventions, like Henry Fonda’s blue-eyed killer, also named Frank, in Sergio Leone’s Once Upon a Time in America, also scored by Morricone. It works nicely cinematically, as his stark white figure is seen yet barely registered on the edges of his crimes, but not so well against the blue screen in his fall. As played by B-movie favorite Billy Drago, he takes the womanless Capone gang over the edge into effeminacy, although perhaps he’s just European. (Later he’ll play the call-boy that ruins Steven Lang’s life in that monument to despair, Last Exit to Brooklyn.) When a bailiff puts a hand on his shoulder, he shakes it off with the haughty annoyance of a drag queen dismissing an unwanted bar patron. He suggests both the feminine and the reptilian, and thus the snake in the Garden, thus forbidden knowledge, and ultimately his own Fall. He is the Evil Tutor to the Evil Männerbund, just as the real Frank Nitti was not a killer but more of a consigliore. (While red-haired Tom Hagen was always shown as a family man, in accordance with the Don’s views, the balding actor, Robert Duvall, suggests a kind of James Carville snakiness.)
[←227]
“That cockamamie baby carriage”; see Ben Kenber, “David Mamet Talks About The Untouchables on Tax Day,” Yahoo Voices: http://voices.yahoo.com/david-mamet-talks-untouchables-5905806.html?cat=2
[←228]
“Ness collects a small bunch of would-be vigilante cops (vigilante in the sense that since the rest of the force is corruptly suckling on the teat of organized crime payouts, their righteousness could be considered transgressive)”—Eric Henderson on Oct. 4, 2004 http://www.slantmagazine.com/dvd/review/the-untouchables/463
[←229]
If assimilating the Apostles to the warrior band seems forced, it is, like the switched juries, absurdly real. Christianity was presented to the Germanic tribes in the form of a revamped gospel story, the Heliand, in which Jesus leads his warriors on raids between Fort Rome and Fort Jerusalem. See G. Ronald Murphy, S.J., The Saxon Savior: The Germanic Transformation of the Gospel in the Ninth-Century Heliand (New York: Oxford University Press, 1995) and James C. Russell, The Germanization of Early Medieval Christianity: A Sociohistorical Approach to Religious Transformation (New York: Oxford University Press, 1996).
[←230]
Bhagavad-Gita, Chapter 4, Verse 7.
[←231]
Abraxas, “Three Ways,” in Julius Evola and the Ur Group, Introduction to Magic: Rituals and Practical Techniques for the Magus, ed. Michael Moynihan, trans. Guido Stucco (Rochester, Vt.: Inner Traditions, 2001), p. 48. The process of “cultivating” the Other as part of the process of initiation is referenced in The Silence of the Lambs, where Buffalo Bill cultivates a rare species of moth: “Somebody grew this guy, fed him honey and nightshade, kept him warm. Somebody loved him.”
[←232]
Abraxas, pp. 50–51.
[←233]
Abraxas, p. 51.
[←234]
Kasdan was one of the most bankable men in Hollywood, and thus able to make this more personal project, due to his work on Raiders of the Lost Ark, which connects him to Sean Connery, who plays Indiana’s father in the later sequel, The Last Crusade, which is based on the figure of Otto Rahn, author of Crusade Against the Grail and Himmler’s pet grailologist; suspected of disloyalty and homosexuality, he wound up a corpse as well, committing a Cathar-style suicide in the frozen Alps, like Alex before the Big Chill starts in.
[←235]
Kline and Close are adults because, not only are they married homeowners with children, all this is possible because he has set up a company, “ironically” called Running Dog, which seems to be on the ground floor of the running shoe phenomenon. The Big House, subservient locals—even the infamous “Southern Sheriff” is a friend and “some kinda guy”—and no doubt slave labor abroad for products sold to inner city youth strongly suggests some kind of Southern antebellum fantasy. But we know he’s a “good guy” because Procul Harum and Motown are “the only kind of music here.” Kline angrily announces “I’m dug in here” while, unlike the “12 Southerners” who defended agrarian rootedness in I’ll Take My Stand, wearing a “Michigan” sweatshirt. As I mentioned before, this shot is perhaps the iconic Modern Liberal, and I like to imagine his shirt has a Made in Thailand tag.
[←236]
Jeff Goldblum plays what can only be called “a Real New York Jew” (Annie Hall) and is consequently intensely unlikable, unlike his later roles as gawky but sympathetic and even heroic (The Fly, Jurassic Park, Independence Day), or indeed any Jew’s movie portrayal since about 1945.
Michael: Everyone does everything just to get laid.
Karen: Who said that? Freud?
Michael: No, I did.
Michael: That’s the great thing about the outdoors, it’s one giant toilet.
Harold: (preparing to order shoes for everyone) Feet grow as you get older.
Michael: I wish everything did.
Despite his smarmy approaches to every woman around, he is the only character to not manage to get laid that weekend.
[←237]
Jo Beth Williams’ square, stodgy husband, played by Don Galloway—I remember thinking, hey, it’s that guy from Ironside!—delivers the only words of wisdom in the film: no one ever said it was supposed to be easy.
Richard: [Richard is having a late-night snack while talking to Sam and Nick] There’s some asshole at work you have to kowtow to, and you find yourself doing things you thought you’d never do. But you try and minimize that stuff; be the best person you can be. But you set your priorities. And that’s the way life is. I wonder if your friend Alex knew that. One thing’s for sure, he couldn’t live with it. I know I shouldn’t talk; you guys knew him. But the thing is . . . no one ever said it would be fun. At least . . . no one ever said it to me.
That’s because he didn’t have the misfortune of falling under Alex’s spell, with Alex’s fake-Zen “ironic” non sequiturs:
Nick: I know what Alex would say.
Harold: What?
Nick: What’s for dessert?
His insomnia may be supposed to indicate one of those “sublimated” conditions Frankfurt Schooled Leftists like to postulate to explain why their opponents happily ignore them, but I would suggest it hints at a natural talent for vigils and contacting the Jungian active imagination, source of wisdom. No one pays attention to him, of course. William Hurt’s insufferable character just walks away when first introduced to him, and he is shipped home to Detroit to take care of the kids so that Williams can finally sleep with, and be disappointed with, her old flame. But before he goes he both predicts her disillusionment with Sam and hints at the essential fakeness of this group: “I can’t believe these are the same people you’ve been talking about all these years.”
[←238]
Close in the film bears a strong resemblance to ’60s female icon Carole King—who wrote the theme to, and appears occasionally in, The Gilmore Girls! Cringingly but all too appropriately, King’s “You Make Me Feel Like a Natural Woman” accompanies Sarah’s decision, although, also in keeping with the proto-SWPL atmosphere, it’s Aretha Franklin’s version—so much more earthy!
The Homo and the Negro Page 23