First let me tell you about the movie (VERSCHWINDE!) I didn’t see: In this movie, set in the 1920s, a very handsome young blonde haired and blue-eyed White Christian German man (let’s call him “Erwin Christoph Rommel”) falls in love with a beautiful German Jewish Lady (let’s call here “Rose Adele” who invites him to meet her parents beautiful country home for a weekend, as a token symbolic act of how serious their relationship as become.
Rose Adele’s parents (let’s call them “the Armandsteins”) are extremely modern progressive scientists from Vienna, a psychologist and a neurosurgeon, to be precise. Christoph, Adele Rose’s young German beau is from a poor family, no visible career or aspirations, down on his luck in the Weimar Republic’s post-“Great War” depression before the World Wide Depression of 1929.
The young lady’s parents (the “Armandsteins”) make intense small talk always alluding to the young man’s status as a non-Jew from a poor background, noting his physical beauty and attractiveness. This all makes young Christoph feel very nervous and uncomfortable, as does the fact that other young Christian Germans like himself work as the servants to this family—-and basically refuse to speak like normal young Germans and seem to act only as caricatures of happy subordinates, wound up to speak platitudes of praise and thanksgiving of their somewhat degraded status.
As the weekend evolves, it turns out that the Armandsteins, Adele’s Jewish parents, and all of their extremely wealthy Jewish friends are members of a group that agrees and conspires to enslave White Christian German men and make use of them as sex-toys or else for medical experiments in the corrupt and decadent style of 1920s Germany and Austria…. The mother, a psychoanalyst (let’s assume he was a student of Sigmund Freud, perhaps named “Anna”) hypnotizes young Christoph and partially controls or influences his mind…. Meanwhile Adele’s Father D. Armandstein conducts a ritual game of some sort with the other like-minded Jewish guests at the weekend party, which is a regular annual family event of some kind, and reveals some sort of intent to target young Christoph for an unusual but clearly unpleasant fate of some kind or other.
The climax of this movie comes when the Jewish Father Neurosurgeon Armandstein (acting like a mad scientist Frankenstein or Frankenfurter or whatever…) attempts to perform a brain transplant from Christoph to a blind Jewish art-dealer. Christoph plays along until one of Adele Armandstein’s slightly dimwitted brothers prepares to transport him to the surgery room, and then breaks loose and kills or disables everyone in the Jewish family and begins to escape… only to be greeted at the gate by someone who at first looks like State Police, and then turns out to be a childhood friend who is a Nazi member of the SA…. the Sturmabteilung…. the predecessor to the Nazi SS of greater fame and infamy in the 1930s and 40s…
The movie ends with heroic celebration of the brilliance and heroism of the paramilitary office German National Socialist Movement which saved young Christoph from the fate of other young Germans hypnotized and enslaved by this clearly insane, repulsive Jewish family …
I repeat: I have not seen this movie Verschwinde for a simple reason—it doesn’t exist (or if it does, it’s quite a coincidence…. please advise me if you know of anything like even remotely like it). Verschwinde is the sort of movie that might well have been produced in the 1930s or early 40’s with the seal of approval of Paul Joseph Goebbels…. but it’s fairly certain that if such a movie were produced today, it wouldn’t premier at the Sundance festival or be generally released to massive audiences all over the United States in 2017….
But now let me tell you about the movie I DID just see today, Wednesday, March 15, 2017: GET OUT, which did in fact premier at the Sundance Film Festival on January 24, 2017, and generally released by Universal exactly one month later, on February 24, 2017. I walked out feeling, quite frankly, stabbed in the back (an historically appropriate but exceedingly uncomfortable feeling for the IDES OF MARCH…).
Chris Washington in GET OUT is not a White Christian German a young black African-American man, while Rose Armitage appears to be his very normal girlfriend. They seem like quite a comfortable, typical modern interracial couple…. and they do indeed go for a family visit to meet Rose’s parents because, implicitly, in the modern way, they are getting really serious even though they always live together—there’s even a whiff of that horrible old tradition of “matrimony” in the air….
Bottom line folks—just rewrite the scenario I gave you for Verschwinde except that Upper Class White Americans are planning to use and destroy a young good-looking black man. You can read a thousand on-line reviews of GET OUT—you can go see it yourself.
My point is simply this: IF “VERSCHWINDE” as I have described it above were a real movie and actually even made and existed, it would be immediately and universally characterized as a textbook example of RACE HATE movie. The ADL (Anti-Defamation League) would Such a movie could never be made or released in modern times and, if it were, it would be suppressed and decried as the epitome of “blood libel” against the Jews, on the order of the story of Little St. Hugh of Lincoln….
So my question is—has America really sunk so low that it is acceptable to make movies like this where White People are the science fiction monsters exploiting blacks?
Oh, the SA aren’t really in this movie GET OUT, of course, but the equivalent paramilitary investigative and oppressive organizer of Chris Washington’s rescue is from the TSA—that’s right, the folks who frisk you at the airport… the Transportation Safety Agency. I think the comparison with the original paramilitary organ of the National Socialist German Workers Party is completely appropriate…. This is Science Fiction as Historical Metaphor an Allegory… this is Science Fiction as Political Advocacy….
In case you didn’t know, my friends and fellow Americans, it is OK to hate white people and portray them as ignorant, insane monsters who pray on black people…. But just try to make Verschwinde!, and see what reception you’ll get at Sundance….. Is the concept of hate according along racial lines any different? Are upper class WASPS really so much worthier a target than Upper Class Jews?
I CHALLENGE EVERYONE READING THIS POST TO TELL ME HOW IT WOULD REALLY BE DIFFERENT IF THE ETHNIC IDENTITIES AND TIMES AND PLACES WERE CHANGED? WHAT DOES IT MEAN ABOUT OUR SOCIETY TODAY THAT IT IS COMPLETELY ACCEPTABLE TO MAKE THIS MOVIE ABOUT WHITE PEOPLE BEING EVIL TO BLACK PEOPLE, BUT IT WOULD BE A COMPLETE ABOMINATION TO MAKE THE NAZI MOVIE ABOUT THE JEWS?