Pawnbreaking Our Culture

1 month ago
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After watching and analyzing several films from the last century and specifically paying attention to degeneracy and subversive propaganda, i noticed something. A strange trend in films that started in the mid sixties and peaked in the late 1970s. The sudden appearance of overtly sexual themes and scenes that seemed to infect and take over cinema seemingly out of nowhere.
Sex has always been a huge part of the human experience so it should be no surprise that it would exist in entertainment, but if you look at films in the 40s, or even 50s, these films might have an element of sexual subversion and promote things like infidelity for example, but the sexual situations themselves were always eluded to and implied. They never rose, or perhaps I should say lowered, to the overtly pornographic and debased cinema that was achieved in the mid to late 60s and grew increasingly perverted until in 1978 wide release films were openly displaying child porn and calling it art as in the case of pretty baby.

July | 2011 | Archive-Type: Musings of a Passionate ...
Aside from what that tells you about the citizens of america in that era that they didn’t burn the theaters down or jail the pornographers that were masquerading as artists. Pornographers who we now know were even more depraved off camera. It’s puzzling that this shift in the culture would happen so rapidly and out of nowhere.

As it turns out, Hollywood has always been a cesspool, they just used to be better at hiding it and in fact this has to do with why films prior to the 1960s were far less pornographic and degenerate.

In 1921, silent film actress Virginia Rappe was allegedly raped to death by Silent film actor Fatty Arbuckle in his hotel room in 1921. And in true Hollywood scumbag fashion, people were paid off and bribes were made and Arbuckle was let off the hook.

The problem was the glamorous image of Hollywood was now tarnished and people began taking a second look at these films they were producing and noticing the same kind of a trend, albeit almost imperceptible by the desensitized public today, of degeneracy in the films that were being produced that came back with a vengeance in the 1960s. Religious Christians, who still had a vast amount of political power in the country began to call for the regulation of these films. They claimed, accurately, that it was having a negative effect on the public. The questioned whether the national culture should be controlled by a small group of perverts in a increasingly vile and decadent city in California.

Hollywood knew they had to do something to keep from being investigated and regulated so they hired Will H. Hays, who was the former chairmen of the republican party and a Presbyterian deacon. They paid him a salary that was equivalent to just over half a million dollars a year to lobby the federal and state governments to not ban the degenerate films. In a way, it was also to help march the american public one step closer towards globalism by creating a one size fits all uni culture for the entire continent.

Filmmaker's Handbook: What was the Hays Code (Motion ...

You see, before hays intervened, studios had to adhere to different standards set by different states. This meant that studios would cut different versions for different states, meaning they would leave in the more degenerate scenes in the films shipped to liberal states and edit the scenes out for conservative states. This was expensive and it got more expensive if they tried to push the envelope in the conservative states because these states would ban the films until more edits were made and also fine the studios for trying to push the degeneracy in the first place. Globalist Hollywood wanted just one set of rules that they could then bend and then eventually wear down and dissolve and having all these empowered local communities was unacceptable. The states, these local communities that decided what was appropriate for their citizens, they were getting in the way. It was much too easy for people to mobilize and get results out of their local governments. Christian communities had power over their own local culture and now after the rape and murder of Virginia Rappe, They were going to start paying more attention.

I just want to pause here and not derail everything by pointing this out, but isn’t it strange that her name is so similar to Virgin Rape? And supposedly that wasn’t a stage name either. Anyway, make of that what you will, after her murder Christians were going to be even tougher on films, films that Rappe herself had starred in like the 1918 film “Over the Rhine” which starred Rappe and transvestite Julian Eltinge who was a rising star.

So Hays would head up the effort to clean up the image of Hollywood and to standardize the allowable amount of degeneracy in films. Catholic bishop Martin J. Quigley, who was leery of government run censorship devised what he called the production code and presented it to Hays in 1930 and it would become what would later be known as the Hays code.

At first the Jewish run studios in Hollywood scoffed at the code and in many cases ignored it entirely but after Catholics began to threaten to boycott movies entirely and other religious groups began demanding federal regulation, the studios eventually succumbed to the pressure and all agreed to abide by the hays code by 1934.

The Hays 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 the studios successfully wore it down where they could little by little. Nudity was absolutely forbidden by the hays code and the studios had never successfully subverted that part of the code. That was until 1965.

In 1965 the Landau Company, which was headed up by Ely 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, and nudity.

The board rejected the film and demanded that these scenes be cut, so the Landau Company took the film to New York where he had connections and where there would be Jewish pressure to approve a film featuring the holocaust. The pawnbroker was approved and screened locally and what is now the the Motion Picture Association, finally gave the film what they called a one time exception and allowed it to be distributed.

Of course, as we know all to well now, this was not a one time exception.

So what is the Pawnbroker? Was it simply the fact that it featured the holocaust the reason it was allowed to break and eventually change the rules forever 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? Rotten Tomatoes gave the film a perfect score of 100 so surely it had to be an important piece of cinema and not simply an excuse to subvert the hays code, right?

The Pawnbroker begins with slow motion shots of a happy Jewish family in an idyllic meadow. There is a father and mother and their 2 children and the grandparents enjoying a picnic by a river. Everyone is happy and everything seems perfect but the overcranked slow motion shots and haunting music also 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 look fearfully at something or someone off camera.

The scene then changes quickly to what was the current year in 1965. It’s a perfect neighborhood in the suburbs and an old Jewish man is sleeping in the sun.

We learn the man’s name is Uncle Saul and he seems to be the one that is financing the other people who live there. We learn that his wife has died and this is his wife’s sister’s family. There is a young woman, a baby boomer who is obsessed with material things and listening to the popular music on her radio, and his nephew who, it is revealed in the first real action in the film is drawing nude women. His sister calls it pornographic and he demands that it is art.

Now isn’t that strange? It’s almost as if the filmmakers, before doing anything else, are trying convince the audience that nudity is simply art. 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 in the film at all. It’s impossible, knowing the context of this film, to see this scene as anything other than a thinly disguised attempt to justify the nudity that will appear later in the film.

Saul’s sister in law mentions that his wife will have been dead for 25 years in just a few days and Saul seems very aware of this fact. She also asks if he will pay for her son to go to Europe and he immediately shows hostility for Europe. At this point it is easy to infer that it was his family in the opening scene and that the woman in the meadow was his dead wife. In today’s context it’s also easy to deduct that the happy scene that stopped abruptly was likely due to the arrival of Nazis and that Saul is a holocaust survivor.

Saul begins to drive into the city to his pawnshop in Harlem and the opening credits roll as chaotic jazz music plays in the background. The music is frantic and at some moments unnervingly random. Saul begins to open his pawnshop and he is observed by an old Hispanic woman who shouts in Spanish to her son that he needs to leave and go to the pawnshop where he works. On his way out she tells him he needs to stop living a life of crime and he promises that with this job at the pawn shop he is now going to be making an honest living.

Now it’s important to note that not only does the younger Hispanic man always where a cross prominently around his neck, but his name is Jesus, which if you didn’t know means Jesus in Spanish. This is obvious symbolism that will come into play later. You see, the pawnbroker isn’t just some film about a holocaust survivor, as a movie that was written, directed, produced, by Jews, featuring a Jewish cast playing Jewish people it’s in many ways the story of how Jews see their role in the world and to some extent how they view non Jews. Saul isn’t just a random holocaust survivor, he’s a composite of diaspora Jews in that time and Jesus in many ways represents Christians.

Keep that in mind as Jesus tells his mother how he can now stop gambling and thieving and being an unruly delinquent because Saul has given him the opportunity to work for him and make an honest living.

We now go to Saul who is often scene behind the bars of the pawnshop. This not so subtle imagery is to remind the audience that while may have escaped the concentration camp, his soul never left. He is forever tormented, his soul imprisoned, damned for eternity to endure the horrors inflicted on him by the world around him.

It’s because this aspect of Saul that he is always resentful and bitter, whether it’s the upbeat and seemingly good natured Jesus attempting to brighten up the place with his personality or the white man who has come on hard times and is pawning his most prized possessions, the black woman who attempts to haggle with him, or even the lonely old black gentlemen who is in such need of company that he finds things to pawn just so he can try to have a conversation with Saul.

Saul seems to hate them all. He low-balls all of them and refuses to budge on the price because he knows they have no other options. He is disgusted by their presence and seems to loath every moment he is in the presence.

Saul receives a phone call from a black man named Rodriguez who calls him from a luxury apartment, Rodriguez also has what seems to be an Aryan man servant and possible gay lover.

Which in the context of the film seems to be nothing more than a petty jab at Germans. The powerful people that wronged the Jews in world war two are now the servants of blacks.

Rodriguez informs 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 in the film, says OK.

Next an older British woman comes to collect charity. She is going to local businesses to raise money for the youth center. This woman represents the British and the other European allied forces. She means well and her hearts in the right place but saul still finds her intolerable like everyone else. When she asks 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, and telling her as much.
After she leaves, Jesus asks Saul to teach him the secrets of the trade and Saul reluctantly agrees to teach him later that evening. Immediately after, criminals from Jesus’s past enter the store to pawn a stolen lawnmower. Saul implies that he might not want to take it because it’s 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.

When the men leave Jesus asks Saul about the tattoo and asks if it’s the mark of a secret society to which Saul replies that it is. When Jesus asks how he can join, Saul smiles grimly and tell him the he needs to learn to walk on water.

This is an obvious reference to the biblical story of Jesus walking on water. Saul is essentially saying to the christian that in order for him to be in his secret society, his New Testament fairy tales would have to be true.

Later that evening Jesus asks Saul to teach him about gold. Saul reluctantly agrees and begins to show him the process of rubbing metal items on a touchstone and testing it with chemicals. He tells him how to determine if something is brass, how something is silver, but before he can get to gold, there is a knock at the door.

Rodriguez’s man has come to launder the money. Saul writes him a check for 5000 dollar for fake contract work and the man gives him 5000 in cash and Saul puts it in the safe.

They are closing up now and Jesus is about to tear a day off the calendar when Saul stops him. This is the day that his wife died and rather than move on, he wants to wallow in pity and bitterness forever. He never wants to forget, he wants his tragedy to be the entirety of his life.

Saul walks the violent streets of Harlem and has flashbacks of being in the concentration camps he is so preoccupied by his visions that he almost runs a man over.

Jesus goes to a jazz club where the music is chaotic and frenzied. A cross dresser dances rigidly while holding his skirt up. Jesus’s girlfriend is a black prostitute and they talk about the future but the criminals that sold Saul the lawnmower earlier that day tempt him to come work for them. But Jesus wants to stay legit.

Saul goes to visit the wife of a friend of his who died with him 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 comes there to have sex with his dead friends wife.

The scene then cuts to the first taboo to be broken, an interracial sex scene between Jesus and the black prostitute. Keep in mind what Jesus represents and now pay attention to the juxtaposition the audience is now exposed. As Jesus has sex with the black prostitute, Saul has sex with a Jewish woman. The shots cut back and forth rapidly between the two different couples. Jesus’s sex is wild happy and animal like, while Saul’s sex is tender and sad.

The next day the British woman comes back and apologizes for irritating Saul and wants to take him to lunch. Once again she won’t leave and so he agrees to get her to leave.

Later that night, Jesus asks Saul why Jews are so good at business.

Saul immediately gets angry and goes on a rant. He says it’s because his people have been tormented for several thousands of years and never allowed to have a home. He says because they were never allowed to have land they were forced to use their brains. He implies that their success comes from using their gifted minds to be merchants and bankers and pawnbrokers because getting money becomes an obsession to survive. He says that the obsession takes over and now there is no desire to have land to grow food or to hunt but only to accumulate wealth through these other means and then, he says, because you are so successful the world turns on you.

Jesus nods in understanding and praises Saul, even though moments ago he was just screaming in his face, for being such a good teacher.

Jesus goes home and works at teaching his mother English because if there’s anything that had to be promoted in 1965 it’s that immigrants were hard working people that wanted to assimilate.

Saul goes to visit his friends widow once again. She feels guilty for having sex with him and her father is complaining that he is so cold and sociopathic. He says he has no passion and no pity and when Saul says its so he can survive, the old man tells him he might as well be dead.

The next day the British woman finds Saul in the park and tells him that they were supposed to have lunch but not to worry because she has brought sandwiches with her. The scene that follows is in my opinion a despicable metaphor. I already mentioned that this woman represents the British and other allied forces from the war, this is about to become more obvious and its extremely troubling to see how the writers portray things but i’ll let you see for yourselves.

Saul right away is cold to the woman, he tells her he does not welcome her interest in him. The British woman says that she understands he is bitter and hurt and alone and she tells him that she is also injured from her past. Remember nearly half a million British alone died in WW2, over half a million French, nearly half a million Americans, 17 million Russians and almost 10 million Chinese, just to name a few of the allied countries. The European continent was decimated and is still suffering those losses today. So keep that in mind as this woman, the representation of those men whom many of you have in your families, is used to minimize this loss with this in my opinion despicable metaphor.

She tells him she understands what he’s going through and that she herself has suffered. She then launches into a story about being fat as a young girl and none of the boys liking her and so she was often alone but that she isn’t bitter and he shouldn’t be bitter either. That is what the loss of millions of lives is compared to, being the fat girl in school, and saul you see, he has the monopoly on suffering, her silly little story doesn’t hold a candle to the horrors he was forced to endure. Saul can’t even keep sitting next to her listening to this woman who dare compare her pain and loneliness to the monumental and eternal burden that he must carry for eternity. He flies into a rage and tells her.

“My dear Mrs Birchfield how naive you are. You have discovered loneliness? You have found out that the world is unjust and cruel? Well let me tell you something my dear sociologist there is a world different than yours. Much different and the people in it are of another species. Now I ask you a question, what do you know?”

The woman begins to protest and begins to say “but what happened to me-”

“Is nothing!” Saul interrupts

He insults her some more and then tells her to stay out of his life and she leaves crying.

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. Saul gets angry and now refuses to launder the money he has brought and tells him to leave.

Shortly after the lonely elderly black man who comes in to pawn stuff and try to talk comes in and Saul basically tells him to fuck off.

After he leaves Saul mutters to himself that he can’t believe “creatures like this exist.”

Jesus asks if he called the man a creature because he was black. Saul gets angry and assures that he is not a bigot and doesn’t discriminate but that instead he sees everyone equally as scum and rejects.

Jesus says “but they are children of god.”

Saul says he doesn’t “believe in God, or art, or science, or newspapers, or politics.”

Jesus asks what he does believe in.

“Money.” says Saul.

“Will you teach me about money?” asks Jesus.

Saul tells him to step into the office and says “Next to the speed of light which Einstein says is the only absolute in the universe, second only to that, i rank money.”

“That’s what life is all about?” Jesus asks.

“That’s what life is all about.” says Saul.

Jesus immediately runs out of the shop to take his lunch break. Now that he knows that it’s all about money and nothing else he has decided that crime might not be so bad after all. He goes to tell his prostitute girlfriend who gets worried and says she can make money by working clients on the side, He doesn’t think that’s enough so he finds the criminals that sold Saul the lawnmower and tells them about the money in Saul’s safe.


While that’s going on, his prostitute girlfriend runs to the pawn shop, unaware of her boyfriends plan, she just wants to pawn the jewelry her clients give her. While she is there, the widow of his friend, who he was having sex with calls and tells him that her elderly father has died. Saul literally gives zero fucks and tells her she got what she wanted and hangs up on her like a psychopath. The prostitute has no idea what the phone call was about but senses that Saul doesn’t want to pay her the money she wants so she begins to strip to try to seduce him.

And this is the big scene that was so instrumental to the “holocaust movie”. We’re an hour into this roller coaster of madness and psychotic behavior and now its super necessary to show this woman breasts. It’s vital that her nipples be on the screen you see because it’s not until he sees the black prostitute’s nipples that he’s able to face the pain of being in a concentration camp. I’m being completely serious, that’s what the filmmakers went with.

He sees her nipples and it gives him a flashback to being in a cartoonish concentration camp where Nazis 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 he saw his wife’s nipples just before she was forced to have sex with a Nazi. Yes really.

That is why they had to make a special exception, so for an hour straight we can watch the life of a psychopath that constantly belittles all the “creatures” surrounding him with random bits of interracial sex and degeneracy sprinkled in to the sound of meandering and senseless jazz music. Its pure fucking madness.

But the history books will tell you that this is great work of art that the evil christian patriarchy was trying to suppress because they evil and prudish, is a masterpiece of cinema. It has a 100 percent rating on rotten tomatoes. This is top shelf celluloid.

Saul, suddenly decides he can’t allow this woman to prostitute herself because it reminds him of his dead wife so he covers her up and goes to tell Rodriguez that he can no longer launder his money because he believes the money comes from prostitution. Rodriguez threatens Saul and reminds him that all his profits come from the money laundering and he won’t be able to pay for his sister in law’s house in the suburbs anymore if he quits. Saul breaks down crying and then Rodriguez’s Aryan man slave comes home and they go upstairs.

Saul wanders the streets in a haze. He has nowhere to go because he has burned the bridge with his friend’s widow so he goes to see the British woman out of desperation. After he explains to her the great suffering he feels she still tries to comfort him, but she’s just a silly little girl still. What does she know about suffering. So, having inflicted some of his pain onto the woman trying to help, he just leaves again.

Saul gets on the subway and starts having flashbacks of being in a train and watching his son die on the way to the camps, he is dazed and seems to barely realize where he is. Jesus gets concerned that maybe the old man has lost it when he begins giving people too much money and takes over the store while Saul rests in the back.

That night Jesus goes to check on Saul and says he’s concerned because Saul is a friend and a teacher to him. Saul laughs at this and says “you’re nothing to me” Jesus asks Saul sees him as just like all the other creatures that he hates and Saul says “like the rest of them out there you are nothing to me”

That’s when Jesus decides he can justify ripping off Saul. he goes back to the criminals and tells them he will leave the place unlocked so they can rob it. These shots are also filled with christian, specifically catholic, imagery. The larger metaphor is easy to see but keep in mind that the filmmakers would have also known the Catholics had developed and forced the hays code. They were the enemy. this , in my opinion, was a not so subtle fuck you to the Catholics who would finally lose this battle against degeneracy in movies.

To really hammer it home, Jesus runs to a catholic church after making the deal to steal Saul’s money. You see, Jesus could never learn to walk on water, he is a creature and his silly religion was unable to prevent him from going after Saul’s money.

In the final scene of the movie, the criminal gang goes to rob Saul. When Jesus sees that they might kill Saul, he tries to take the gun away but gets shot.

He has sacrificed himself for Saul and paid the ultimate price for his sins, but it is Saul who is cursed to live with this. Live with the never ending horrors that haunt him everywhere he goes, forced to wander the earth in agony forever.

And that is why, ladies and gentlemen, just a few short years later the hays code was abandoned. To make way for other great works of art that feature every kind of degeneracy. This film was the crack in the dam that split it in two and drowned our nation in a never ending flow of debasement and perversion.

 

 

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