A Nationalist Classic.
It is remarkable really.
Back in the 1960's I used to read about a "Marxist" Japanese movie entitled "The Seven Samurai" which supposedly inspired an equally Marxist (or was it existentialist?) American western knock off entitled "The Magnificent Seven" starring Steve McQueen. Well, I saw the American version live at the theater and could not discern anything remotely Marxist about it - perhaps because I attended the wrong temple and lacked the cultural background necessary to understand Marxism.
In my temple, Marxism appeared as a simple form of slavery for Christians, and I didn't see any of that in the movie.
It was only a couple years ago that I managed to see and record the original Japanese masterpiece directed by Akira Kurosawa on the cable network.
I was absolutely stunned.
This is the most important and explicit nationalist movie I have ever seen.
A copy should be available in the foreign films section of your local Hollywood Video. I urge you to rent and watch it once for the enjoyment and a second time for the nuance.
The nationalist themes are not quite as in your face and obvious as they are in Braveheart, that other giant among nationalist classics, but it is a more important and more realistic treatment of the major dilemmas which haunt all modern nationalists. And for that reason, it has more important lessons for us.
I suppose that any movie set in an impoverished village might be viewed as Marxist, as the village might resemble in the mind's eye of a modern, the kibbutz or the collective farm, where life is natural and inequality at a minimum.
Of course, professing Marxists have no intention of living in an impoverished village themselves. Rather, this ideal is for others, and not so much a real village but rather an ersatz psychological village, to benefit those consigned to such a "natural" existence of centrally planned labor as may be chosen for them by Marxists.
For indeed, Marxism in all of its modern flavors is a yearning for dominance over alien tribes and races which are needed and tolerated only because the Marxists disdain cleaning up after themselves, and need contented servants to do their dirty work (or in the Frankfurt School flavor, to consume and rack up debt). It is all about the propaganda and force needed to ensure a willing labor supply, with the romance of the Sthetl, or kibbutz, as the idealized model by which the Marxists rationalize for their own psychic comfort the imposition of equalizing poverty and labor upon the lesser races over which they hold sway. Same old slavery - different marketing.
And as Professor Kevin MacDonald would clearly hold, the marketing of utmost importance is to the importuning minds of the Marxist elites themselves. One must delude ones self in this modern world, before one can successfully delude the masses.
The Seven Samurai was produced in 1954, shortly following the defeat of Japan.
When you watch this movie I think you will agree that its meaning to a Japanese of that era must have been crystal clear. The rather clear and obvious purpose is to bind up the wounds between the warrior class that has just lost a calamitous war, and the rest of the nation (symbolized by the farmers in this movie) for whom the war was a disaster.
But I am not really concerned with the immediate meaning of this movie for a Japanese audience in 1954. Nor am I particularly interested in dissecting the elaborate "code" so deftly employed to remain within the obvious limits imposed by American censors who occupied Japan until 1952, and by their hand picked Japanese successors.
Rather, I am intensely interested in its meaning for us as modern-day nationalists of a Euro-American persuasion.
As I watched this movie, I was overwhelmed by the sense that it was speaking directly to me, with messages of overpowering modern importance. It may have been set in Japan, but it was not uniquely nor exclusively Japanese.
The movie opens on a small farming village in 16th century Japan. The village is mired in poverty but is nevertheless plundered by bandits following every harvest. In our first encounter with the bandits, from a distance, their leaders appear to be wearing the familiar Viking helmets with horns coming out of them.
Thus, not more than 5 minutes into this 3 hour and 20 minute epic, my code antennae are at max alert. After all, it was Viking marauders who just nuked Hiroshima and Nagasaki a few years back, killing hundreds of thousands of civilians over the issue of how Japan was to surrender - whether their Emperor would be required to shuffle on down to the banana boat, so to speak, in the process.
It is not clear to me whether Japanese would react to these costumes in the same way. Doubtless the costumes are authentic suits of armor from 16th century Japan, but in all probability, the Japanese of 1954 would be at least as familiar with the horned helmeted image of the marauding barbarian Norsemen as they would the details of armor bandits might have used 500 years ago. In any event, the bandits are unmistakably alien in their appearance and demeanor.
The villagers argue about whether to fight or negotiate, and consult the village patriarch who says they shall fight. He remembers a particularly bad season for bandits years ago and recalls that all the villages were burned down save one, which survived because they hired a few Samurai to defend them. The villagers are instructed to go find Samurai and hire them.
Missing from the discussion is any mention of a "government" or even the concept of government. Recall that this drama takes place at a time when the Kings of Europe not only had sizeable standing armies, but had sizeable armies of clerks keeping tax records, and battalions of magistrates and sheriffs spread throughout the land, as well as professional cadres of court advisors. A troupe of 41 similar bandits operating anywhere within 16th Century Europe would have met a very quick and decisive end at the hands of the nearest national army.
What we see spread before us in The Seven Samurai is a rich tableau of the natural libertarian state of nature, in which there is no mention of government at all. In passing, I should note the extreme irony that this perfect state of freedom from the restraints of government, and indeed the lack of any consciousness of what government might be, should exist in the most cohesive and racially homogeneous nation on earth. Perhaps that is the only soil in which true freedom can grow! Indeed, perhaps government as we know it was invented for the very purpose of amalgamating differing tribes, depriving them of their independence and suppressing their consciousness of ethnic difference, all in the service of empire.
Instead of a plea to government, we have a candid debate among the villagers about the costs and benefits of paying tribute to the bandits as against the costs of hiring the Samurai.
The primary impression one gets of the villagers is fear. Fear of strangers and fear of their own inability to put up a collective defense. In this sense, the movie is anthropologically correct. The villagers are all related by blood. They are a tribe possessed of a dual code, suspicious of the harm that may be inflicted by all strangers, by bandits certainly, and by the Samurai, probably.
So at length, a few villagers set out to the large town with nothing more than a large bowl of rice with which to hire Samurai to defend them.
In the next segment of the film we are introduced to the Samurai themselves. They have no coherent organization, and all appear to be freelance contract workers or fighters for hire. While there is mention of the fact that they are members of a Samurai caste by birth, you never see a Samurai woman, and indeed, the warriors are all "rogue males" mired in poverty, beset with exceptionally high mortality, having a very low statistical probability of passing their own genes on to the next generation, and an absolute zero chance of engaging in the kind of "high investment parenting" that would be required to produce one such as themselves.
Like the warrior ant, they exist to sacrifice themselves for someone else.
In a word, they are all "lone wolves," surprisingly individualistic for Japanese. None are members of any organized gang or male hunting group.
Most are mired in poverty and live on the edge of starvation. While they may be members of a higher caste than the farmers, they are poorer, having no security, and possessing only the tools of their trade.
In searching for defenders, the farmers judge these Samurai by the way other Samurai react to them. A particularly astute older Samurai rescues a child from a thief holding her hostage by disguising himself as a priest. After his triumph, a young Samurai begs him to be his "Sensei," his teacher, leader and guide.
The farmers ask the aging Sensei to help them in exchange for three meals a day. He is convinced of the justice of their cause and agrees. The Sensei then hires five other Samurai on the same terms, and with a very rough farmer boy who wishes to be a Samurai, the seven return with the farmers to defend the village.
On arrival, the Sensei speaks with the patriarch, and then takes charge, plotting strategy and organizing the farmers to building earthworks, constructing moats and destroying bridges so as to limit access routes into the village. He delegates to the other Samurai the job of teaching to farmers to fashion primitive spears or pikes from bamboo, and then training them in their use.
All goes quite well until the seventh Samurai finds the farmers' cache of swords and armor taken from Samurai they have killed in the past - Samurai on the run from the armies of defeated war lords. The Samurai they have hired take this as an affront, and a repudiation of their sacrifices, but decide to continue to fight for the farmers despite their treachery.
Is this all beginning to sound vaguely familiar to you nationalists?
The Samurai hold themselves in readiness to protect their fellow Japanese at all times, but are hated and feared by them most of the time, absent a clear and present danger. The Samurai are held in contempt by those they live to protect. In fact, they are hunted down and killed when vulnerable. And it is only in times of dire threat that the ordinary people will value the Samurai and submit to the leadership and guidance of the Sensei.
There are three houses that lie outside the perimeter of the village and are indefensible. The occupants of these houses mutiny and attempt to desert the defense of the village, only to be chased by the Sensei with his sword drawn. They submit and the Sensei delivers a stirring speech, which is the highlight of the movie.
The outlying houses are three!
The village has twenty!
We can't endanger twenty for three.
No outlying house can be saved while the village proper is destroyed.
Remember! That is war!
You're all in one boat.
He who thinks only about himself will destroy himself too!
Such selfishness will not be tolerated!
I cannot imagine a more beautiful and moving statement of the nationalist credo! But you are going to have to see it in the dramatic original to truly understand.
While the Samurai have only their traditional swords and bows, the bandits have three guns. Thus, the survival of the village is dependent upon the cunning, skill and disciplined use of traditional means and technologies against superior and alien technology.
In the process of saving the village, and of killing all of the bandits, four of the seven Samurai are killed.
The closing scene is one of the most powerful in any movie ever produced.
The farmers are planting the rice. As the three surviving Samurai contemplate the scene of renewed economic activity and the restoration of normal village life, they turn to the burial sites of their fallen comrades.
We see a grave site consisting of a large dirt mound, stark in its poverty and simplicity. At the top of the mound we see four smaller mounds with the Samurai swords emplaced as markers.
In contemplating the scene the Sensei says to his trusted co-warrior:
Again we're defeated.
The winners are those farmers. (The nation!)
And thus it will be always among those born with an independent and warlike spirit.
In times of peace and prosperity, our own Euro-American village will not want to hear our message! And that is understandable, for according to the lessons of the of The Seven Samurai, this is in accord with the very nature of things among a people. However, as our Euro-American village begins to sense the danger, it will be our duty to respond for them and to expect nothing but danger, sacrifice and death in return.
And as it happens, none of us can serve in any official capacity as guardians of our people as long as those services are under the thumb of alien masters.
So in the meantime, it is our duty to wait patiently, and to hold ourselves in readiness.
Every one of you has skills and a role to play.
It is your duty to resist debt and conspicuous consumption. Do not allow your labor to strengthen our Marxist slave masters. Build your resources and contribute to the effort to spread our message to those with the spirit to hear and join our movement.
It is your duty to spread your genes into the next generation.
Any young lady who is willing to interact with you has already inherited the essential core of racial awareness that you seek. Remember, our ideas have been branded as markers of low status and low ability to support and nurture children. Stick to the socially acceptable displays of love, tenderness and dependability that are the psychological markers of evolutionary fitness in the sexual selection process. Display fitness for supporting her and nurturing her children in an appropriate male role.
It is your duty to spread the message of your commitment and your calling in ways that do not diminish your own status or livelihood. Among probable enemies keep your counsel, yet spread the message diligently among our own who display a disposition to understand and respond positively.
It is your duty to accumulate the resources to be a good missionary for the cause and to contribute to the efforts of others who display great skill in that calling.
It is your duty to be patient and to remember that your calling is one of measured and disciplined sacrifice for a nation that will only value that calling in times of emergency and may never acknowledge nor approve your efforts on their behalf.
As the emergency of our people becomes more apparent to all, one from among us will emerge as the Sensei, the Leader, the Fuhrer. We will know him when the time arrives.
And when that Leader emerges, and upon taking diligent counsel announces to us that the time has indeed arrived, then shall we unleash the ancient hammer of Thor - the hammer of our hallowed ancestors and departed heroes! Only then shall we demonstrate to the other nations of the World just how seriously we take the survival of our own, and just how little selfishness and individualism we will tolerate until the emergency has passed and our independence and control over our own destiny have been assured.
To the performance of all of the above duties I strictly enjoin each of you,
as I remain faithfully yours,
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