Pawnbreaking Our Culture.mp3

00:00:02 After watching and analyzing several films from the last century, and specifically paying attention to degeneracy and subversive propaganda, I noticed something that kind of stuck out to me an unexplainable trend in films that started in the mid 60s and peaked around the late 70s.
00:00:19 The sudden appearance of.
00:00:21 Overtly sexual themes and scenes.
00:00:23 Seem to infect and take over cinema seemingly out of no.
00:00:28 Where sex has always been a huge part of the human experience, so it should be no surprise that it would exist in entertainment.
00:00:35 But if you look at films from the 40s or even the 50s.
00:00:39 These films might have an element of sexual subversion and and promote things like infidelity.
00:00:45 For example, but.
00:00:46 The sexual situations themselves were always alluded to or or implied.
00:00:53 They never rose or.
00:00:54 Or perhaps I should say, lowered to the overtly pornographic and debased.
00:00:59 Cinema that was achieved in the mid to late 60s and grew increasingly perverted until in 1978.
00:01:08 A wide release film was openly displaying child **** and calling it art, as in the case of pretty baby.
00:01:17 Aside from what this tells you about the citizens of America in that era, that didn't burn the theaters down or jail the pornographers that were masquerading as artists.
00:01:27 Pornographers, who we now know.
00:01:30 Were even more depraved.
00:01:31 Off camera it's puzzling that this shift in the culture would happen so rapidly.
00:01:38 And out of.
00:01:40 But of course it didn't come out of nowhere.
00:01:43 As it turns out, Hollywood has always been assessed pool.
00:01:47 They just used to be better at hiding it and in.
00:01:49 Fact this has to do with why films prior to the 1960s were far less pornographic and degenerate. In 1921, silent film actress.
00:02:00 Virginia Rapp was allegedly raped to death.
00:02:03 By silent film actor Fatty Arbuckle at a party in his hotel room and in true Hollywood scumbag fashion, allegedly people were paid off and bribes were made and Arbuckle was let off the hook.
00:02:17 The problem was.
00:02:18 The glamorous image of Hollywood was now tarnished and the people began taking a second look.
00:02:24 That these films that they were producing and noticing the same kind of a trend, albeit almost imperceptible in comparison to the trend that we saw in the 1960s, but the degeneracy in Hollywood films was.
00:02:36 On the rise.
00:02:38 Religious Christians, who at the time still had a a vast amount of political power in the country, began to call for the regulation of these films.
00:02:47 They claimed accurately, in my opinion, that it was.
00:02:50 Having a negative effect.
00:02:52 On the public.
00:02:52 They questioned whether the national culture should be so influenced or or.
00:02:58 Controlled by a small group of perverts and an increasingly vile and decadent city in California.
00:03:06 Hollywood knew they had to do something to keep from being investigated and regulated, so they hired Will H Hayes, who was the former chairman of the Republican Party and a Presbyterian Deacon.
00:03:17 The studios hired Hayes to lobby the federal and state governments to not ban or or regulate the degenerate films in a way, it was also to help.
00:03:26 Marched the American public one step closer towards globalism by creating A1 size fits all unit culture for the entire continent. You see, before Hayes intervened.
00:03:39 Studios had to adhere to different standards set by different states.
00:03:43 This meant that studios would have to cut different versions of films for each of the different states, meaning that they would leave in more degenerate scenes and films that shipped out to more liberal States and edit the scenes out for the conservative state.
00:03:59 Not only was this expensive and it could get very expensive because these states would not only ban that version of the film, but they would also find the studios for trying to push the degeneracy in the 1st place.
00:04:12 Globalist Hollywood wanted just one set of rules that they could then bend wear.
00:04:18 Down and then.
00:04:19 Eventually dissolve and having all these empowered local communities was unacceptable.
00:04:25 The states, the individual states, these local communities that decided what was appropriate for their citizens.
00:04:34 They were getting in the way.
00:04:36 It was too easy for people to mobilize and get results out of their local governments.
00:04:41 Christian communities have the power over their own local culture.
00:04:45 And now, after the rape and murder of Virginia rap, they were going to start paying.
00:04:51 Even more attention.
00:04:52 Now I just want to.
00:04:53 Pause here real quick, and I don't want to.
00:04:54 Derail everything by pointing this out.
00:04:57 But isn't it strange that her name is so, so similar to virgin rap?
00:05:05 And supposedly this wasn't a stage name either.
00:05:08 I looked into it and her real birth name is supposedly Virginia rap.
00:05:15 I just wanted.
00:05:15 To point that out, make of that what you will.
00:05:18 After her rape and murder, Christians were going.
00:05:21 To be even.
00:05:22 Tougher on the degeneracy and films, they might even take a second look at.
00:05:26 Films that rapper.
00:05:27 Well, that appeared in like the 1918 film Over The Rhine, which also featured the Rising star Julian Elton.
00:05:35 Who was at the time a well known transvestite or what they called at the time?
00:05:41 A female impersonator.
00:05:44 So Hayes was hired to run interference.
00:05:46 He would head up this effort to clean up.
00:05:48 The image of.
00:05:48 Hollywood and to standardize the allowable amount of degeneracy in films Catholic Bishop Martin.
00:05:55 Jay Quigley, who was leery of the government doing any kind of censorship, devised what he called the production code.
00:06:03 He presented it to Hayes in 1930 and it would become what would later be known as.
00:06:09 The Hayes code.
00:06:11 At first, the Jewish Run Studios in Hollywood scoffed at the code, and in many cases ignored it entirely.
00:06:17 But after Catholics began to threaten to boycott movies entirely and other religious groups began demanding federal regulation, the studios eventually succumbed to the.
00:06:28 Pressure and all.
00:06:29 Agreed to abide by the Hayes Code.
00:06:31 By 1934, the Hayes Code remained largely adhered to for the next few decades and was administered by what is now known as the Motion Picture Association of America. But.
00:06:44 The studios successfully wore it down.
00:06:47 Where they could little by little nudity obviously was absolutely forbidden by the.
00:06:53 Haze code and.
00:06:54 The studios never successfully subverted that part of the code.
00:06:59 That was until 1965.
00:07:02 In 1965, the Landau Company, which was headed up by Eli Abraham Landau, submitted their film The Pawnbroker, which was a fictional story of a Holocaust survivor living in Harlem. The film included several sex scenes, interracial sex cross dressers.
00:07:22 And nudity.
00:07:24 The board rejected the film and demanded that these scenes be cut so the Landau company took the film to New York, where Landau had connections and where there would be sufficient Jewish pressure to approve a film featuring the Holocaust.
00:07:37 The pawnbroker was approved in New York and screened locally, which led to what is now.
00:07:44 Motion Picture Association finally giving the film what they called at the time A1 time exception and allowed it to be screened around the country.
00:07:56 Of course.
00:07:57 As we all know now, this was not a one time exception.
00:08:03 So you might be asking, well, what is the pawnbroker was?
00:08:06 It was it simply the fact that it featured the Holocaust, that that was that the only reason it was allowed to break and eventually change the rules forever or or did it contain something artistic that the public thought made it worthy of this massive cultural change that has now spiraled out of control?
00:08:25 During Rotten Tomatoes gave the film a perfect score of 100, so surely it had to be an important piece of.
00:08:34 And not simply just an excuse to subvert the haze code, right?
00:08:39 The pawnbroker begins with slow motion shots of a happy Jewish family and a idealistic Meadow.
00:08:46 There is a father and a mother and and two children and grandparents enjoying a picnic by the river.
00:08:53 Everyone is happy and everything seems perfect.
00:08:56 But the over cranked slow motion shots and the haunting music in the background give the audience a sense of apprehension, as if this scene is the calm before the storm and then suddenly the scene resumes at normal speed and the characters all looked fearfully at something off in the distance.
00:09:18 The scene then.
00:09:18 Quickly changes to what is current year 1965.
00:09:23 It's a perfect.
00:09:23 Neighborhood in the suburbs and an old Jewish man is sleeping in the sun.
00:09:27 We learned that the.
00:09:28 Man's name is Uncle Saul and he seems to be the one who's financing this existence for these people who are are living in the suburb.
00:09:37 We learned that his wife has died.
00:09:39 And this is his wife's sister's family. There's a young woman, a a baby boomer who is obsessed with material things and listening to pop music on her radio. And his nephew, who it it is revealed in the first real action of the film with dialog.
00:09:57 That he's sketching her.
00:09:58 A nude woman.
00:09:59 His sister calls it pornographic and.
00:10:02 He demands that no, this is art.
00:10:06 Now isn't that strange?
00:10:08 It's almost as if the film makers, before doing anything else, are trying to convince the audience that nudity is simply art.
00:10:18 Why even have this scene, as we'll discover later, Saul never returns to the home of his sister-in-law, and these characters never reappear.
00:10:26 And the rest of the film at all.
00:10:29 It's impossible knowing the context of this film to see this scene as anything.
00:10:35 Other than a thinly.
00:10:36 Disguised attempt to justify the nudity that will appear later in the film.
00:10:43 Saul's sister-in-law mentions that his wife will.
00:10:45 Have been dead for 25.
00:10:47 Years in just a few days.
00:10:49 And Saul.
00:10:50 Seems very aware of this fact.
00:10:52 She also asked if if he will pay for her son to go to Europe and he immediately grows hostile and shows obvious disgust towards Europe.
00:11:01 At this point, it's easy to infer that it was his family that was in the opening scene and.
00:11:06 That the woman in.
00:11:07 The Meadow is his now dead wife, and in today's context, it's.
00:11:12 Also easy to assume that the happy scene that stopped abruptly was likely due to the arrival of Nazis, and that Saul is a Holocaust survivor.
00:11:24 Saul begins to drive into the city to his pawn shop in Harlem, and the opening credits roll as chaotic jazz music plays in the background that the music is so frantic, and at some moments unnervingly random that it it's distracting.
00:11:43 Saul begins to open his pawn shop and we cut to an old Hispanic woman who was watching him from a window.
00:11:48 And she begins to shout at her son, who apparently works at the pawn shop that he needs to go leave for work on his way out, she tells him he needs to stop living a life of crime.
00:11:59 Time, and he promises that with this job at the pawn shop, he's going to make an honest living.
00:12:06 Now it's important to note that not only does the younger Hispanic man always wear a cross prominently around his neck, but his name is literally Jesus.
00:12:17 Well, it's Jesus, which if you didn't know, means Jesus in Spanish.
00:12:22 This is obvious symbolism that will come into play over and over and over again.
00:12:27 You see, the pawnbroker isn't just some film about a Holocaust survivor in, in my opinion, it's it's a movie that was written, directed, produced by Diaspora Jews featuring a a Jewish cast playing.
00:12:42 Jewish people and in many ways, it's the story.
00:12:45 Story of how these post Holocaust diaspora Jews see their role in the world and to some extent how they view non Jews.
00:12:57 Saul isn't just some random Holocaust survivor.
00:13:00 He's a composite of diaspora Jews in in the same way that Jesus.
00:13:05 Is largely representative of Christians.
00:13:10 So keep that in mind as Jesus tells his mother how he can now stop gambling and thieving and and being unruly and and delinquent, because Saul has given him the opportunity to work for him and and make an honest living.
00:13:27 This is a theme that will be repeated.
00:13:29 We now go to Saul in the pawnshop and this imagery right here where he's.
00:13:34 Viewed behind bars, this is the not so subtle imagery to remind the audience that while he may have escaped death in the concentration camp, his soul has never left.
00:13:46 He has forever tormented his his being is imprisoned, damned for eternity to endure.
00:13:55 The horrors inflicted on him by the world around.
00:13:59 And it's because this aspect of Saul that he's always resentful and bitter to a psychotic degree. Whether it's the upbeat, seemingly good-natured Jesus attempting to brighten up the place with his personality or the white gentleman that comes in, and he's come on.
00:14:19 Hard times and his pawning some of his most prized possessions or the black woman who attempts to haggle with him.
00:14:27 Or even the.
00:14:27 Elderly black gentleman, who is in such need of company that he finds things to pawn just so he can come in and try to have a conversation with Saul.
00:14:37 Saul seems to hate.
00:14:38 All of them.
00:14:40 He lowballs all of them and refuses to barge on the price because he knows they have no other options.
00:14:48 He is disgusted by their presence and seems to loathe every moment he is near them.
00:14:54 The phone rings and Saul picks up the.
00:14:56 Phone and speaks to a black man named Rodriguez, who calls him from a luxury apartment.
00:15:02 Rodriguez also has what seems to be an Aryan man, servant and possible.
00:15:08 My lover, which in the context of the film really seems to be nothing more than kind of a petty jab at at Germans, you see the powerful people that wronged the Jews in World War 2 are now the man servants of the blacks.
00:15:24 So Rodriguez informed Saul that he's going to send one of his men to launder some money through the pawn shop, and Saul, who seems to hate Rodriguez as much as he hates everyone else.
00:15:36 In the film.
00:15:38 Shortly thereafter, a middle-aged British woman comes to collect charity. She's going to local businesses and trying to raise money for a youth center.
00:15:48 This woman represents the British and the other European allied forces.
00:15:53 She means well and her heart is in the right place, but Saul still finds her intolerable.
00:15:59 Like everyone else, when she asked if he would like to volunteer or donate to the youth center, he becomes annoyed and only writes her a check to get her to leave.
00:16:10 In addition to being cruel to her and telling her that that's exactly what he's doing.
00:16:14 After she leaves, Jesus asked Saul to teach him the.
00:16:18 Secrets of the trade.
00:16:19 And Saul reluctantly agrees to teach him.
00:16:22 Later that evening.
00:16:23 Immediately after that, criminals from the neighbourhood enter the pawn shop with a stolen lawn mower.
00:16:29 Saul implies that he might not want to take it because it's likely stolen, but is intimidated by the men when one of them notices the number tattooed on his arm, and so he pays them for it anyway.
00:16:43 When the men leave, Jesus asks Saul about the tattoo and asked him if it's a mark of a secret society to which.
00:16:50 Saw replies that it is.
00:16:52 When Jesus asks, well, can he join?
00:16:55 Saul smiles grimly and tells him that he would need to learn to walk on water.
00:17:02 This is an obvious reference to the biblical story of Jesus walking on water.
00:17:07 Saul is essentially saying to the Christian that in.
00:17:11 Order for him.
00:17:12 To be in his secret society.
00:17:15 His New Testament fairy tale would have to be.
00:17:18 True, later that evening, Jesus asked Saul.
00:17:21 To teach him about God.
00:17:24 Saul reluctantly agrees and begins to show in the process of rubbing metal items on a touchstone and testing it with chemicals.
00:17:32 He tells them how to determine if something is brass, how to determine if something is silver.
00:17:38 But before he can get.
00:17:39 To gold.
00:17:41 There's a knock at the door. Rodriguez's man has come to launder the money. Saul writes him a check for $5000 for fake contract work, and the man gives him 5000 and change in cash. And Saul puts it in his safe.
00:17:57 Moments later, when they're closing up shop, Jesus is about to tear off the day from the calendar, when Saul stops him.
00:18:05 This is the day that his wife died and rather than move on.
00:18:10 He wants to.
00:18:11 Wallow in pity.
00:18:13 And bitterness forever.
00:18:15 He never wants to forget.
00:18:16 He wants his tragedy.
00:18:19 To be the entirety of his life, and he is angry at Jesus for doing something that would have forced him.
00:18:27 To move.
00:18:29 Saul walks the violent streets of Harlem and has flashbacks of being in the concentration camps.
00:18:35 He's so preoccupied by his visions that he almost runs a man over Jesus, meanwhile, goes to a jazz club where the the music is chaotic and frenzied.
00:18:48 There's a cross dresser on the stage dancing rigidly while holding up his skirt, and uh, hey, Sue's girlfriend. We find out there's a black prostitute and they talk about the future.
00:19:00 But the criminals that sold saw.
00:19:02 The lawnmower earlier that day try to tempt him.
00:19:06 To come work.
00:19:06 For them.
00:19:08 But hey Zeus, he wants to stay legit.
00:19:12 While Jesus is at the chaotic Jazz Club, Saul has gone to visit the wife of a friend.
00:19:19 That died in the concentration camps. Her sickly father seems to be just as miserable as Saul, and complains about him being there because he thinks it's improper that Saul has come there to have sex with his dead friend's wife. This is when the movie cuts abruptly.
00:19:38 To the first taboo, they intend to breakdown a rather graphic for the time interracial sex scene between Jesus and the black prostitute.
00:19:51 Now keep in.
00:19:52 Mind what Jesus represents and and also pay attention to this little juxtaposition.
00:19:58 That the audience is now exposed to.
00:20:01 As Jesus is having sex with the black prostitute, Saul is having sex with a Jewish woman.
00:20:07 The film cuts rapidly back and forth between the two different couples and the two different sex scenes.
00:20:13 Jesus's sex is wild and happy and animal like while soul sex is, is tender and sad the next day.
00:20:21 The British woman comes back and apologizes for having irritated Saul and and wants to take him out to lunch and once again she won't leave until he agrees, so he agrees to get her to leave.
00:20:34 Later that night, Jesus asks Saul why Jews are so good at business.
00:20:40 Saul immediately gets angry and goes on a rant.
00:20:43 He says it's because his people have been tormented for several thousands of years and never allowed to have a home, never allowed to have land, he says, because they weren't allowed to have land, they were forced to develop their brains.
00:20:58 He implies that.
00:20:59 Their success comes from using their gifted minds to be merchants and bankers and pawn brokers because getting money becomes an an obsession for survival.
00:21:10 He says that this obsession has taken over now and there's no desire even to have land to to grow food or to hunt, but only to get more money through these means.
00:21:21 And then he explains this obsession, this gathering of wealth makes them so successful that the whole world turns on them.
00:21:29 Cheesus nods and understanding.
00:21:31 And praises Saul for being such a good teacher, even though just like moments ago Saul was screaming in his face.
00:21:40 Jesus then goes home and and works at teaching his mother English, because if there's anything that had to be promoted in 1965, it's that immigrants were were hard working people. That definitely would assimilate Saul goes to visit the widow of his dead friend. Once again, she feels guilty for having sex with him and.
00:22:01 Her father is complaining that he's so cold and and sociopathic, he says that he has no passion and no pity.
00:22:10 And and when Saul says it's so that he can survive, the old man tells him.
00:22:14 He might as well be dead the next day, the British woman finds it.
00:22:18 Saul in the park and tells him that they were supposed to have lunch but not to worry, even if he forgot, because she has brought sandwiches with her.
00:22:26 The scene that follows, in my opinion, is really despicable metaphor.
00:22:32 I already mentioned that this woman represents the.
00:22:35 British and the other Allied forces from the war.
00:22:38 This is about to become more obvious and it's extremely troubling to see how the writers portray the next scene.
00:22:44 But I'll.
00:22:45 I'll let you see for your.
00:22:47 Saw right away it's cold to the woman.
00:22:50 He tells her that he does not welcome her, her interest in him, the British woman says that she understands that he's bitter and hurt and alone and.
00:22:59 She tells him.
00:23:00 That she is also injured from her past.
00:23:03 Remember nearly half a million British alone died in World War 2.
00:23:07 And and over half a million French and nearly half a million Americans, you know, 17,000,000 Russians, almost 10 million Chinese, just to name a few of the Allied countries. The European continent was decimated.
00:23:21 And is still suffering those losses today, so.
00:23:24 Keep that in mind.
00:23:27 As this woman representing those men whom many of you have in your families, watch as she is used to minimize this loss.
00:23:38 With this, in my opinion, despicable metaphor.
00:23:43 She tells him that she understands what he's going through and that she herself has suffered.
00:23:49 She then launches into a story about being fat as a young girl and and none of the boys liking her and and so she was often alone and and but that she isn't bitter.
00:24:01 And that he shouldn't be.
00:24:02 Bitter either.
00:24:03 That is what the loss of millions of lives is being compared to being the.
00:24:08 Fat girl in school.
00:24:11 And Saul, you see, he's got the.
00:24:13 Monopoly on suffering.
00:24:16 Her silly little story doesn't hold a candle to the horrors.
00:24:20 He was forced to endure else all can't even keep sitting next to her.
00:24:25 Listening to this woman who dare compare her pain and loneliness to the monumental and eternal burden.
00:24:33 That he must carry for eternity.
00:24:36 He flies into a rage and he tells her.
00:24:40 My dear missus Birchfield, how naive you are.
00:24:45 You have discovered loneliness.
00:24:48 You have found out that the world is unjust and cruel.
00:24:53 Well, let me tell you something, my dear sociologist.
00:24:57 There is a world different than yours, much different, and the people in it are of another species.
00:25:06 Now I ask you a question.
00:25:09 What do you know?
00:25:10 The woman begins to protest and and says.
00:25:14 But what happened to me is nothing, Saul interrupts.
00:25:20 Is nothing.
00:25:21 He continues to hurl insults sadder.
00:25:24 Until eventually, he tells her to stay out of his life.
00:25:28 And she leaves crying.
00:25:30 When Saul returns, he finds Rodriguez's money laundering guy at the pawn shop, and he is ripping the date off the calendar to the current day.
00:25:39 So I'll get angry and now refuses to launder the money. How dare this man have such disregard for Saul's special day of pain? He is so angry that when shortly after.
00:25:51 The lonely elderly black man who comes in to pawn things just to try to talk to Saul comes into the pawn shop and Saul basically tells him to **** *** and after he leaves.
00:26:03 Saw mothers to himself that he can't believe creatures like that exist.
00:26:09 Jesus asked if he called the man a creature because he was black.
00:26:13 Saul gets angry and assures him that he's.
00:26:16 Not a bigot.
00:26:17 He doesn't discriminate, but instead.
00:26:20 He sees everyone equally as scum and rejects.
00:26:27 Hey, Sue says.
00:26:27 But they are all children of God.
00:26:31 And Saul says he doesn't believe in God or art, or science or newspapers or politics.
00:26:40 Jesus then as.
00:26:42 What does he believe in?
00:26:45 Money, says Saul.
00:26:49 Well then, will you?
00:26:50 Teach me about money.
00:26:52 Asks Jesus.
00:26:53 Saul tells him to step.
00:26:54 Into the office.
00:26:56 And he says to him, quote next to the.
00:26:58 Speed of light.
00:26:59 Which Einstein says is the only absolute in the universe, second only to that.
00:27:07 I rank money.
00:27:08 That's what life is all about, Jesus says.
00:27:12 That's what life is all about, says Saul.
00:27:16 Jesus immediately runs out of the shop to take his lunch break.
00:27:20 Now that he knows it's all about money and nothing else.
00:27:24 He has decided that crime might not be so bad after all.
00:27:29 He goes to tell his prostitute girlfriend, who gets worried and says that she can make the money by working extra clients on the side.
00:27:38 But he doesn't think that's enough.
00:27:40 So he finds the criminals that sold Saul the lawnmower and tells them about the money.
00:27:45 And Saul's safe. While that's going on, Jesus's prostitute girlfriend runs to the pawn shop.
00:27:53 Unaware of her.
00:27:54 Boyfriend's plan? She just wants to.
00:27:57 Upon the jewelry that her clients give.
00:28:00 And while she's there, Saul receives a phone call.
00:28:04 From the widow that he's having sex with, she tells Saul that her elderly father has died.
00:28:10 She's broken.
00:28:12 She's sobbing.
00:28:13 She needs comfort.
00:28:16 And Saul literally gives 0 ***** and tells her that she got what she wanted and hangs up on her like a complete psychopath.
00:28:25 The prostitute has no idea what the phone call was about, but senses that Saul might not.
00:28:31 Want to pay her?
00:28:32 The money that she wants, so she begins to strip.
00:28:36 To try to.
00:28:36 Seduce him.
00:28:37 And this, ladies and gentlemen.
00:28:40 Was the big scene.
00:28:43 That was so instrumental.
00:28:45 So necessary.
00:28:47 To the quote UN quote Holocaust movie.
00:28:51 We're an hour into this roller coaster of madness and psychotic behavior.
00:28:56 And now it's it's super necessary to show this woman's breasts because it's vital that her *******.
00:29:05 Be seen on screen.
00:29:07 You see it's it's it's important because it's not until he sees.
00:29:12 The black prostitutes *******.
00:29:16 That he's he's finally able to face the pain of being in a concentration camp.
00:29:24 I'm being completely serious.
00:29:25 That's what the film.
00:29:26 Makers went with.
00:29:28 He sees her *******.
00:29:30 And it gives him a flashback to being in this cartoonish concentration camp where Nazis are are laughing and giggling like super villains as they force Jewish women into prostitution, and because one of these comic book Nazis smashed his head through a window for some reason.
00:29:50 He sees his wife's *******.
00:29:53 Just before she was forced to have sex with the Nazi.
00:29:57 That's why they they had to make a special exception that would wind up changing the rules forever.
00:30:03 So that for an hour straight.
00:30:05 We can watch the life of a psychopath that constantly belittles the creatures surrounding him with random bits of interracial sex and degeneracy sprinkled into the sound of meandering and and senseless jazz music.
00:30:22 It's pure ******* madness.
00:30:25 Yes, but the history books will.
00:30:27 Tell you that.
00:30:29 This is a great work of art that the evil Christian patriarchy was was trying to suppress because they're evil and prudish and probably anti-Semitic.
00:30:40 This is a masterpiece of cinema it.
00:30:43 It has a.
00:30:43 100% rating.
00:30:45 On Rotten Tomatoes, this is top shelf celluloid right here, folks.
00:30:50 So now that Saul.
00:30:53 Has finally seen the ******* that he needed to see.
00:30:58 He decides he can't allow this woman to prostitute herself because it reminds him of his wife's *******.
00:31:06 So he covers her up and goes to tell Rodriguez that he no longer wants to launder his dirty money because he believes that this money is coming from prostitution.
00:31:17 Rodriguez, of course, threatens Saul and reminds him that all of his prophets keeping his business afloat.
00:31:25 Come from the money laundering and that he won't.
00:31:28 Be able to.
00:31:29 Pay for his sister in Law's house in the suburbs anymore if he quits.
00:31:35 Saul breaks down crying.
00:31:37 And then Rodriguez's Aryan Manslave comes home and they go upstairs.
00:31:43 Saul wanders the streets in a haze he has nowhere to go because he burned the bridge with his his friend's widow.
00:31:52 He decides to go see the British woman out of desperation after he explains to her the great suffering that he feels that she can't possibly relate to.
00:32:04 She still tries to comfort him, but don't you understand?
00:32:08 She's just a silly little girl.
00:32:11 She can't even fathom.
00:32:14 The agony that Saul feels.
00:32:18 What does she know about suffering?
00:32:21 Having selfishly.
00:32:23 Inflicted some of his pain onto this woman trying to help him.
00:32:28 He once again just abandoned her and just leaves.
00:32:32 Saul continues to wander the streets.
00:32:34 He ends up on the subway and starts to have flashbacks of being in a train and and watching his son die on the way to the camps.
00:32:42 He's dazed and and seems to barely realize.
00:32:45 Where he is.
00:32:47 Jesus, concerned that maybe the old man has finally lost it.
00:32:51 When he sees Saul very uncharacteristically giving people too much money.
00:32:57 He takes over the store and tells Saul to go rest in the.
00:33:00 Back that night, Jesus goes to check on Saul and says he's concerned because he considers Saul a friend.
00:33:08 And a teacher.
00:33:09 So he laughs at this and says you are.
00:33:13 Nothing to me.
00:33:14 Hey, Sus, is is surprised by this and he and he asked Saul, do you see me just like you see all the other creatures that you hate so much and Saul says.
00:33:28 Like the rest of them out.
00:33:29 There you are nothing to me.
00:33:32 That's when Jesus decides he can finally justify stealing from.
00:33:38 He goes back to the criminals and tells them that he'll leave the place unlocked so they can burglarize it.
00:33:44 Now it's important to notice that these shots are also filled to the brim with Christian, specifically Catholic imagery.
00:33:54 The larger metaphor is easy to see, but keep in mind that the film makers would have also known that the Catholics had developed and forced the Hayes Code.
00:34:03 They were the enemy.
00:34:04 This, in my opinion, was a not so subtle.
00:34:08 **** you to Catholics who would finally lose this battle against degeneracy in movies and really hammer at home.
00:34:16 Jesus runs to a Catholic Church after making the deal to steal Saul's money, which again is a not so settled metaphor.
00:34:25 For the Catholics, preventing the studios from making money, it's the Catholics stealing the Jews money.
00:34:33 That's the metaphor.
00:34:35 That's the metaphor.
00:34:37 Plain as day.
00:34:40 And you understand?
00:34:41 Hey, Zeus.
00:34:42 He could never learn to walk on water.
00:34:45 He's a creature.
00:34:46 Just like all the rest of.
00:34:47 Them and his silly little religion was unable to save him from the temptation to steal Saul's money, and in the final scene of the movie, this criminal Catholic gang.
00:35:01 Goes to Rob Saul.
00:35:03 When Jesus sees that they might actually kill Saul, he tries to take the gun away, but he gets shot.
00:35:09 He actually winds up sacrificing himself for Saul.
00:35:15 He pays the ultimate price for his sins.
00:35:20 But his body is quickly taken away because don't you understand?
00:35:24 It's Saul.
00:35:26 Who was cursed?
00:35:28 To live with this horror lived with this never ending agony that haunts him everywhere he goes.
00:35:37 Forced to wander the earth.
00:35:41 And never ending pain.
00:35:46 And that is why, ladies and gentlemen, just a few short years later, the Hayes Code was abandoned.
00:35:53 Pretty much completely.
00:35:55 To make way for other great works of art, of course.
00:36:00 This film.
00:36:03 Was the final crack.
00:36:05 In the dam.
00:36:06 The Holocaust was used as a hammer.
00:36:10 And it split the dam in two.
00:36:13 And drowned our nation.
00:36:15 In a never ending flood of debasement and perversion.
00:36:20 That rises inch by inch.
00:36:23 Every single day.
00:36:27 For black pilled.
00:36:28 I'm Devin stack.
00:36:30 If you like my videos, make sure you like and subscribe.
00:36:33 Make sure you share if you want to support my work.
00:36:35 You can become a Patreon at patreon.com/black pill. You can send crypto to one of the addresses below, or pick up a copy of my book day of the Rope Link is in the description.