Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
Rob Zombie (stage name of Massachusetts native Robert Cummings) has, since the moonrise of the twenty-first century, made a name for himself as a filmmaker with outings such as his hyper-violent Halloween franchise resuscitations for the Weinstein Company. Zombie’s sadistic diptych House of 1,000 Corpses (2003) and The Devil’s Rejects (2005) constitutes perhaps the quintessential statement of the torture porn philosophy on film. Trivializing and even eroticizing the acts of torture and murder, the films offer what, on the surface, would seem to be a typical Hollywood rendering of that threat to American modernity, the Texas redneck. This should come as no surprise in view of the fact that the films were produced by Madonna’s and U2’s manager Guy Oseary – an Israeli and “hardcore Jew”1. Scurrying under the floorboards of Zombie’s nightmare movie vision are indications of a distinctly un-Texan origin.
“Growing up, I had the weird fantasy list,” Zombie has said. “I wanted to be Alice Cooper, Steven Spielberg, and Stan Lee” – triangulating a creepy Jewish show business persona and sanctioner of secret identities – and Zombie attained his aspiration through a “psychotic drive”2. Zombie’s thematic relationship with Jewishness is inextricable from his music, aesthetic preoccupations, and misanthropic philosophy. Of Captain Spaulding (familiar exploitation movie heavy Sid Haig), the clown-faced psycho proprietor of a murder-themed tourist trap in House of 1,000 Corpses, Zombie says, “We wanted him to be a lovable asshole. […] I guess he’s sort of like […] Don Rickles was a serial killer.”3 “Yeah, I wanted the audience to cheer ‘em,” the director said of the Firefly family of serial butcherers in his films. He claims, however, that “I didn’t consciously think of it at the time […] But it’s like when you saw Beetlejuice and you could tell all Tim Burton cared about was Beetlejuice.”4
Just as intriguing – but, again, not surprising given the involvement of “hardcore Jew” Guy Oseary – is Zombie’s decision to make creative murderer Otis B. Driftwood (Texas Chainsaw Massacre 2’s Bill Moseley) into a kind of super-aggressive American patriot (perfect entertainment for the newly minted neoconservative age of the “War on Terror”): “Otis is wearing his […] ‘Burn This Flag’ shirt, which some people thought was anti-American, but it was very American,” Zombie explains. “Otis is challenging you to burn that flag, and if you try it, he’ll kill you.”5 This “very American” character proceeds to turn Bill (Rainn Wilson), one of his captives in the titular house, into a corpse sculpture called “Fishboy” – probably intended as a mockery of Christianity since the scene of Fishboy’s creation involves Bill being mutilated and taunted while bound in a crucifixion pose.
Haig, interviewed about his Captain Spaulding character for a bonus feature included on the Blu-ray release of the film, confirms the neocon-torture-porn connection inherent in House’s political context:
I am the epiphany of the ‘Merican spirit. I am what this country used to be all about, which means, you wanna fuck with me, you best bring all yo’ shit. ‘Cause I don’t care ‘bout no Berlin Walls, no 38th parallel, no drawn lines in the goddamn sand. You piss me off, I’m gonna come over there and put my boot up y’ass. Oh yeah.6
These remarks are reminiscent of the Toby Keith song “Courtesy of the Red, White, and Blue (The Angry American)”, which was recorded (for Spielberg, Katzenberg, and Geffen’s DreamWorks Records, sold shortly thereafter to Universal, which also released House of 1,000 Corpses during this period) at the insistence of Marine Corps Commandant James L. Jones7. “We’ll put a boot in your ass,” the song declares of Americans’ intention to forcibly insert footwear into an adversary’s rectum, because “it’s the American way.” The millions of flag-brandishers in the audience of Sean Hannity’s radio program, which uses this snippet from “Courtesy of the Red, White, and Blue” to open each broadcast, have apparently never questioned Keith’s claim that sadomasochistic sodomy is a faithful representation of the American way of life – and Captain Spaulding clearly approves. (It may also be worth mentioning here that Haig, who has a distinctively large and bulbous nose, was born Sidney Eddy Mosesian.)
It is not until the House of 1,000 Corpses sequel The Devil’s Rejects, however, that the subtextual Jewishness of Zombie’s killers is made explicit. In this outing, Zombie reveals that the Texas clan of killers and necrophiliacs uses aliases lifted from Marx brothers movies. “Captain Spaulding” is Groucho Marx’s character in Animal Crackers (1930); “Otis B. Driftwood” is the same actor’s character in A Night at the Opera (1935); “Rufus Firefly”, played by Robert Mukes, takes his name from Groucho’s part in Duck Soup (1933); and “Grampa Hugo” (Dennis Fimple) echoes Groucho’s character “Hugo Z. Hackenbush” in A Day at the Races (1937). While these allusions might seem like a simple element of whimsy introduced into the script to appeal to film buffs, the adulation of Marx is actually highly significant. Zombie is hereby situating himself and his cohorts of the torture porn generation in a succession of Jewish-subversive pop-cultural currents.
Harmless as Marx brothers films seem today, the fact of the matter is that these were ethnically hostile assaults directed at European dignity. “I wouldn’t dream of missing a Harpo or Groucho film, even if I were warned that the picture isn’t pure Marxism,” applauded radical publisher Emanuel Haldeman-Julius8. Monkey Business (1931) is perhaps the most revealing of their movies, and serves as an allegorical blueprint for Jewish immigrants’ subversion of American government and society – a cinematic Protocols of the Learned Elders of Zion. This is not a public service on Zombie’s part – no effort at awakening the goyim – but gloating over the industry’s power to warp the minds of the gullible. The writer-director of House of 1,000 Corpses and The Devil’s Rejects, by his own admission, sympathizes with the family of serial killers. Zombie’s next project is actually slated to be a movie about the life of Groucho Marx, whom he obviously regards and reveres as one of the pioneering godfathers of cultural rot – perhaps even what might be termed cultural Marxism9.
The essence of this enterprise is the enslavement of all of non-Jewish mankind – the reduction of the goyim to the function of livestock. Appropriately, The Devil’s Rejects sets its climactic moments on a cattle ranch. “I was big on the cows,” Zombie acknowledges in his commentary. “I was always trying to wrangle the cows in the shot because […] I felt that cows were solid production value”10; but the cattle clearly have more meaning than Zombie is prepared to own. Sheriff Wydell (William Forsythe), obsessed with revenge for his brother’s murder in House of 1,000 Corpses, captures the Firefly family and lights two of them on fire – his intention apparently being to “holocaust” the undesirables – but then sets Baby Firefly (Sheri Moon Zombie) free in order to chase her around the farm. Lurking among the cattle pens, Wydell can be heard, briefly and almost imperceptibly, to mutter a “moo” in imitation of the animals, which symbolically links him with their plight. “We, here, we are playin’ on a level that most will never see,” he says in reference to the movie’s esoteric narrative layer of the struggle between the Aryan and the Jew. The cows are to have no revenge this night, and dimwitted Firefly kinsman Tiny (Matthew McGrory) – a burn victim and therefore a “holocaust survivor” – comes to Baby’s aid and sets his people free when he brutally snaps Sheriff Wydell’s neck. “Now here’s where you think the audience would be upset,” Zombie observes; “but every time I show this it gets a huge round of applause when the good guy dies.”11
It is eminently fitting that an American priding himself on such an accomplishment would emerge from a rock band calling itself “White Zombie”.