Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
The Satanic Rites of Dracula (1973)
This writer, like many, has been taking advantage of this Halloween season to watch a number of horror movies – some new and some he has seen before. One of the latter, he is intrigued to report, has become more interesting since the first time he saw it, in light of things he has learned about Jews, their activities, and their beliefs. The Satanic Rites of Dracula, also known as Count Dracula and His Vampire Bride, was the last of the Hammer Dracula series to pair Christopher Lee with Peter Cushing, and – in addition to being a thoroughly entertaining, suspenseful, and pleasantly sleazy entry in the venerable British franchise – features a number of clues indicating that screenwriter Don Houghton – or somebody involved in the production – knew more than he was willing to make explicit about the nature of his civilization’s hostile elites.
Compelling parallels have long persisted between Jewish cultural manifestations and the conventions of vampire lore. Both have a foreign, frequently Eastern European origin; both abhor Christ and are varieties of parasites – financial, physiological, or spiritual – and neither Jews nor vampires can stand the light of day, which is to say, exposure for what they are to the public eye. “The Jew is immunized against all dangers: one may call him a scoundrel, parasite, swindler, profiteer, it all runs off him like water off a raincoat,” writes Joseph Goebbels. “But call him a Jew and you will be astonished at how he recoils, how injured he is, how he suddenly shrinks back: ‘I’ve been found out.’” The Satanic Rites of Dracula adds human sacrifice, or the old “blood libel” – another charge that for centuries has dogged God’s Chosen people.
Van Helsing, creepy extremist gun nut and anti-Semite
In the movie’s opening scene, a Chinese woman (Barbara Yu Ling) – evocative of the alien, the sinister, and the East – presides over a ceremony of ritual sacrifice to the Unholy, with a nude blonde laid on a table to be stabbed – which is to say penetrated both literally and symbolically – and turned into one of the Devil’s brides. The scene also involves the ritual sacrifice of a chicken, a detail which, as students of Judaism may recognize, bears a resemblance to the Jewish practice of Kapparot, which more than one scholar has identified as a form of devil-worship. “This particular evil is more potent and more addictive than heroin, I assure you,” says Van Helsing, who adds that, “Those who adhere to the cult of vampirism are usually sophisticated, mature adults” – and, one might add, rich and powerful.
Those participating in this blasphemous orgy include the Right Honourable John Porter (Richard Mathews), Member of Parliament; ultra-rich Lord Carradine (Patrick Barr), who “owns half of London”; General Sir Arthur Freeborne of the Imperial General Staff (Lockwood West); and Nobel laureate scientist Professor Julian Keeley (Freddie Jones). All four are tied to the mysterious Carlyle-like Denham Group of Companies, and enthroned at the nexus of this military-industrial complex cabal is the king of the parasites himself – Dracula! “Evil rules, you know,” as Keeley later observes to Van Helsing (Cushing). Dracula, posing as the reclusive magnate D.D. Denham, in words vaguely evocative of a New World Order, concedes that “There is a group of us who are determined that the decadence of the present day can and will be halted. A new political regime is planned.”
His plan, not dissimilar to the Nazi depopulation agenda attributed to the global transhumanist N.W.O. elites by popular conspiracy theories floated at the Jonesian end of the alternative media pool, is to unleash a lab-weaponized super-pestilence – no, not Ebola, but a radioactively modified strain of the bubonic plague. Dracula’s corporate octopus, the Denham Group of Companies, with its tendrils in chemicals, oil, banking, government, and academia, will serve as the vast disseminator of Dracula’s “created Apocalypse”, a plague which may be interpreted metaphorically as the corruption wrought by Judaic culture. That corruption, as depicted in The Satanic Rites of Dracula, includes homosexuality, sex slavery, the subversion of public servants, and the “mental destruction of intellectuals”.
Gentile up to no good – desperately trying to spark a Holocaust with two sticks
“Look at the world – chaos,” observes Professor Keeley. “It is a preordained pattern: violence, greed, intolerance, sloth, jealousy. The deadly sins – or the deadly virtues. [. . .] Nothing is too vile. [. . .] You need to know the terror. The horror [. . .] You need to feel the thrill of disgust. The beauty of obscenity.” His comments recall the rationale given in The Mephisto Waltz (1971), another movie that seems to evince some familiarity with the diabolical nature and pastimes of the super-elite, for why “sophisticated, mature adults” would putatively worship the Devil and work toward their own civilization’s destruction. Quite simply, veneration of evil serves as a cheap pretext for the rich to do whatever they want – including adultery, incest, and murder – without being bothered about morality.
Dracula’s high-rolling Shabbos goyim panic when they discover that “Mr. Denham” intends to use the plague not “merely [as] a deterrent”, but as a means to an unholy “Sabbat” that will destroy the world. More than this, he intends to disease them all immediately, turning them into “four horsemen” and “carriers of the plague who will infect their miserable brethren”. This going-out-with-a-bang approach, of course, recalls the Samson Option, Israel’s strategy of massive nuclear aggression in the face of any perceived “existential threat”. But might this not ignite a cataclysmic chain of retaliation? Might not a doomsday plague exterminate all of the blood-rich cattle Dracula needs to survive? “Perhaps,” Van Helsing muses, “deep in his subconscious, that is what he really wants. An end to it all. He is a cursed immortal, existing on violence, fear, and dread. But supposing, but just suppose he yearns for final peace. What then? He’d want to bring the whole universe down with him. The ultimate revenge.”
Van Helsing warns his compatriots that vampirism, even after being more than once “destroyed” by him, has “risen again like the phoenix” – from the smoldering ruins of a European “Holocaust”, perhaps? – and Dracula lends credence to his words when he proclaims with an awe-inspiring boast: “My revenge has spread over centuries – and has just begun!”
“You can’t handle the tooth!”