It's a Gas Gas Gas

[Mittelwerk at aol.com]

Spielberg is a self-hating Spago Jew and philistine.

There aren't really any Jews in that whole damn movie:  mostly they're props
to be murderered in order to highlight the moral variation between the two
German leads, Schindler and Goeth.  Usually they're shown in panicky and
delusive crowd contexts; when shown individually or in 'private' its only to
stress some caricatured element of eternal Jewness or other.  Apart from the
Germans in the movie, there is no reason for the Jews to have existed at all.

It isn't really suprising that Spielberg views himself as a benevolent
German.  He exempflies the category of philistine--a man who made a career of
denying himself in order to turn out whitebread gentile daydreams like a
latter-day Zanuck.  All his movies bear the scars of assimilation:  the
little Jewboy's comic-book dread of beach-resort White America, symbolized in
the figure of a floating 35-foot dick with razor-sharp teeth; the comic-book
idolatry of Indiana Jones, another ur-Gentile, pure wish-fulfillment,
de-sexualized for your arrested viewing enjoyment.  Spielberg's subject
matter has always been the Great American Lie, as something to be
uncritically celebrated.  As least Woody overcame his neurosis by fucking his
adopted-daughter; but Steven has always been a partisan of necrophilia. . . .


Spielberg's neurosis, however, always produces embarrassing ruptures in his
films--particularly in moments that have sexual content.  In Schindler's List
this occurs twice:  once, in the cattle cars, when he cranks that goddawful
John Williams ddeck as the rodent-like Jews thrust their tongues out to
receive Schindler's heaven-sent droplets of water (this scene is truly
repulsive, in that it spiritualizes the loss of humanity); and again, in the
showers, as the Jewish women huddle naked in terror expecting the gas (and
here comes that goddamned abysmal fucking John Williams tripe-score again),
collapsing into joy as water spews forth from the nozzles instead.  The whole
bit is pure schlockola (Look!  You're in here with these Jews getting the
business!).  This time Spielberg spiritualizes the absolute loss of dignity,
flipping the emotions on his Jews like switches (Gas=Terror; Water=Glee).

In all seriousness, one has to be a complete buffoon to equate this movie
with dedicated Art.  One has to completely miss the impossible-to-miss
celebratory content of it:  Now we can sleep, little childrens, we can
congratulate ourselves for feeling sorry for ourselves for being able to feel
sorrow for those poor dead millions.  Ah, Schindler!  Ah, humanity!