‘Death Wish’ as Jewish Anti-Gentile Fantasy and Revenge Porn
‘Death Wish’ is an iconic series of the films which began in 1974, and which went through multiple sequels throughout the 1980s starring Charles Bronson as the main character ‘Paul Kersey’. The films however edit an important detail from the original ‘Death Wish’ novel by Brian Garfield – Garfield doesn’t appear to be jewish himself, but it wouldn’t surprise me if he was – which is that ‘Paul Kersey’ was in fact originally a meek jewish accountant called ‘Paul Benjamin’ not Bronson’s square-jawed gentile hardman ‘Paul Kersey’. (1)
In the original novel Benjamin’s wife Esther is killed and his daughter Carol put in a comma during a burglary gone wrong so Benjamin starts going out murdering and torturing assorted ‘criminals’ – in the book he largely picks on petty criminals and down-and-outs who can’t really defend themselves in surprise attacks (in typically jewish fashion I might add) - on the mean streets of New York City and while jews have sought to lionize Benjamin as a ‘tough jew’ and – rather weirdly – a ‘neo-conservative’ (whose adherents are usually extremely corpulent). (2) The truth is that Benjamin is far less a ‘tough jew’ in the sense of being a vicious jewish gangster of the sort common throughout the 1920s to the 1950s in both Europe and North America, but rather your average gentile-hating cowardly jewish thug who targets those who are unable or less able to fight back via things like sneak attacks.
In much the same way that a wannabe ‘tough jew’ – and a former director of the ADL – named Nathan Perlmutter could boast in 1982 in a typically tone-deaf way about beating up an old German man on the street because he ‘was a Nazi’ (3) and get no push back from his fellow members of the tribe. The ‘tough jew’ of jewish fantasy is Benjamin, the so-called ‘Hebrew Hammer’ and the famous ‘Bear Jew’ of ‘Inglorious Bastards’; where the so-called ‘brave jew’ gets to torture and murder helpless non-jews in general – and ‘Nazis’ in particular – without any moral opprobrium attached to doing so ‘because Nazis’.
It may as well as say ‘because Amalek’ because that is the mentality exhibited by jews like Perlmutter in reality as well as Benjamin in fiction. (4) The point is simply in that Perlmutter and Benjamin both have absolutely no problem behaving like the character Amon Goth from ‘Schindler’s List’ in that they torture and murder helpless non-jews while acting as judge, jury and executioner precisely because the Goth is not an accurate historical creation – the worst the historical Goth actually did was extrajudicially murder three jews and was to be tried by the SS for doing so – but rather a jewish self-projection. (5)
That is the essential truth behind novels like ‘Death Wish’ and ‘Psycho’ in that they are fundamentally not the products of the gentile mind – rather like Kafka’s deranged literary productions like ‘Metamorphosis’ (Kafka having a sexual fantasy about being a bug) and ‘In the Penal Colony’ (Kafka having a sexual fantasy about being tortured to death) – but rather the products of genetic jewishness that are in essence jewish fantasies about being ‘tough jews’ who get to torture and murder helpless non-jews with abandon.
This is why jews treat Palestinians among other the way they do and also why the (heavily jewish) Cheka/OGPU/NKVD/MVD acted exactly the same way when given power over the peoples of the Soviet Union as well as Central and Eastern Europe.
It is the essence of Wagner’s thesis in ‘Judaism in Music’ applied to literature so we get ‘Judaism in Literature’ which then presents obvious evil as good and obvious good as evil.
Schopenhauer didn’t call the jews the ‘people of the lie’ for no reason.
References
(1) https://www.theguardian.com/books/2002/jul/29/comment.news
(2) https://forward.com/culture/430279/the-secret-jewish-history-of-death-wish/
(3) Nathan Perlmutter, Ruth Ann Perlmutter, 1982, ‘The Real Anti-Semitism in America’, 1st Edition, Arbor House: New York, pp. 14-15
(4) On this cf. Elliot Horowitz, 2006, ‘Reckless Rites: Purim and the Legacy of Jewish Violence’, 1st Edition, Princeton University Press: Princeton
(5) I have talked about this previously in the following article: https://karlradl14.substack.com/p/nazis-a-jewish-creation
Thanks for your reply and the reading references. Sometimes I think there's an excess of prejudice in the circles where the Jewish question is discussed, which sometimes leads to a loss of focus and generalizations, as if no Jew could produce anything artistically valid or "high." I understand Wagner's criticisms, just as I understand what motivated the Jew Adorno in his criticism of Stravinsky, or the Jew Schoenberg's outbursts about the need to overturn the European culture of the time. However, a hundred years have passed, and in one way or another, those kinds of contributions have been assimilated and digested, and many of them are, in my opinion, culturally valid. I can understand the context in which the theory of degenerate art developed during the National Socialist period. Now, it would be anachronistic to consider jazz itself, for example, as degenerate music. But I don't want to bore you any further. I'll read what you recommended. I've learned a lot from this blog, and I'll probably learn something this time too.
I don't think that's the right Kafka interpretation, it seems the typical modern jewish interpretation, where everything is an anticipation of the Holo or something related to modern gender theory. I think it's just a good allegory of exclusion and all the psychological issues that follow.
Anyway, I really appreciate this blog, but I don't understand the idea that this kind of literature is deranged or something like that. To be critical of jews is not to negate individual and psychological problems. The fame and diffusion of this literature and censorship of other is a distribution issue not a intrinsic quality of the literature.