The Sand and The Sea
The introductory credits are shown alongside a black-and-white opening sequence of a feathered sky and a low hanging sunset, depicting the tide rolling into Venice Beach in beautiful and entrancing cinematography. The sequence is careful to depict the waves, beating and sliding upon the sand, the frothy sea whisked together with the shore, as by an unstoppable force of nature. This sequence esoterically invokes the contrast of Jewish/Gentile blood. The interrelationship of sand and sea signifies a common Jewish theme and as explained in the previous essay, the conjunction and mixture of Jewish/Gentile blood is a matter of constant focus throughout this film. (Jewry as God’s “Sand”, amongst “The Sea” representing the Gentile nations – designations mentioned many times throughout the Bible. Gentiles are described as the “sea” [also the “water”] in many other contexts and parables as well, it is an oft-recurring motif.)
In fact, the bright red “X” featured prominently in the title credit of the film also alludes to mixture of Jewish blood. This red “X” is a fantastic microcosm of the workings of Jewish esotericism: on its surface, it seems like a “tough”-sounding allusion to Generation-X, upon analysis it is indicative of Christian “salvation”, upon deeper analysis it is a signifier of the Jewish/Gentile blood admixture of the Jewish Christ, and in the final analysis it is a symbol implying the hidden Jewish nature and stewardship of institutionalized Christianity itself.
(Note: This interpretation of the introductory credits is corroborated in a later scene [the only other scene set on the actual seashore in the entire film], when we are shown old “home movies” of Derek and Danny as children, walking on the beach together [a biblical reference to being “carried by Christ”] and Derek “splashing in the waves”, alluding to his arc of “salvation” by the blood-admixed Jew, Danny [whose”Christ” identity will be explained in detail later in this essay]. Additionally, the above scene is spliced with cuts to the “present”, slow-motion shots of Derek in the shower drowning his face in water [his Jewish-led “Conversion” or “Baptism”], further confirming this analysis.)*
The Aryan’s Wrath
Immediately following the opening credits, the film begins with a flashback of a burglary, a scene of spectacular, grisly violence accompanied by graphic sex. It is a scene dripping with barbarism, practically soaked in gore and power. Derek, the Gentile, is depicted as fearsome and muscular, as his “warlike” physical stature and sexual prowess are displayed prominently, bringing his young, nubile girlfriend to climax repeatedly, and destroying his attackers with such a vengeful fury as to splatter the entirety of the quiet suburban scene with brains, shattered bone, and blood.
It is a frightening scene to the contemporary viewer, a stark depiction of the ruthless Aryan type, the “Bad Gentile”, completely severed from any association with Judeo-Christian “Progressive” civilization. This exposition serves as Kaye’s crux of Gentile identity, and forms the “contrast” as it were, the counterpoint, with the Jewish moralism that presents itself throughout the film.
(Note: Even at night, the blinding light in this shot is a possible reference to the God Apollo, in contrast to the Proto-Jewish Dionysus whom Kaye later references.)
Venice High School as Church
The film then shifts to a now-colorized present, with Danny Vinyard waiting on a conversation with the Principal, “Dr. Bob Sweeney”. Venice High School, with its loud, ringing bells, represents institutionalized Christianity, the “Progressive Church” which has “lost” the “Anti-Christian” Derek, to white racial consciousness and a life of gang violence.
Sweeney is an obvious “priestly” Christian figure, whose Gaelic-derived name “Sweeney” identifies him as a Gentile, not a Jew, blindly adhering to the doctrine of multicultural Judeo-Christian “Progressivism”. (Sweeney’s identity as a Gentile is demonstrated in a later scene as well, telling Derek “I know about me, I know about this place, I know about the place you are in”, ostensibly regarding Derek’s incarceration, but in truth it is a statement about the deepest aspects of Sweeney’s own Gentile character.)
It is significant that in the opening conversation we see Principal Sweeney consorting with the aforementioned Jewish history teacher, Murray. This is meant to set up a subtle, esoteric display of the Jewish origin and hidden stewardship of the Church, and of Christianity more generally, which is alluded to throughout the film.
As mentioned earlier, in the conversation between Murray and Sweeney, a long-past affair with Danny’s mother Doris (“Dorian Woman” In Greek, indicating her as a Gentile) is brought up by an embarrassed Murray, who quickly shuts the door on Danny, and drops the topic of conversation. This is meant to be a confusing scene, where the whole truth of Murray’s relationship is left purposefully unanswered (Note: in the initial script, Murray’s comment about the affair occurring only “3 years ago” was omitted, indicating that this statement is at most a half-truth with a purpose of misdirection.)
Outside the office, Danny’s angry remark to Murray, “I knew it was you!” is another clue. In addition to the reference of biblical/ethnic naming convention, we now begin to suspect that Danny is Murray’s illegitimate and unknowing son.
Danny himself is portrayed as calm, cool, wise, and hesitant to engage in violence. He is rebellious but intelligent, a good student, somewhat comically having claimed to have read Mein Kampf in a week. He does not engage in racial antagonism in any instance on his own volition throughout the film, and he avoids violence. In short, Danny is portrayed as the polar opposite of his Gentile brother Derek (as depicted thus far in the film).
The following confrontation in the bathroom firmly establishes Danny’s identity as the Jewish Christ. As noted earlier, the three black thugs in the confrontation do not have crosses on their chains, a symbol that is practically ubiquitous throughout the film. Later on, we see them with their gang leader, who wears a chain bearing a golden scorpion, the symbol of the Roman Praetorian Guard. These black thugs, led by “Little Henry” have names that indicate them, esoterically (and ironically), as Gentile “Aryans” (ethnic identities that correspond to the Romans in the Christ mythology). Danny does not engage in violence, rather he breathes a smoke cloud onto Little Henry, symbolizing “the Holy Spirit”, and then helps the sickly, weak boy who had been bullied back to his feet. After this scene, there can be no mistake regarding our well-established suspicion: Danny is a Jew.
After Danny introduces us to the ethnic strife of Venice, and recalls his memory of Derek’s founding of the D.O.C. (the Disciples of Christ) along with the gang’s successful contest of rival black territory, we are introduced to the new “Converted” Derek, who seems eager to bring his family away from his past.
We then come to learn that Davina, Derek’s sister, is also indicated as a Jew. Not only does she argue against racialist ideology in image of a Jewish intellectual “Progressive”, more importantly her name is also a female variant of David, the “beloved” Shepherd-King of the Torah. (We presume Murray is the father as well, but this is unclear)
It is only now that we become intimately acquainted with Derek’s past, as we are shown the gangland violence and harassment perpetrated by the D.O.C. We are quickly brought to an extremely tense “Dinner Scene”, where Derek and Murray argue (with Stacy, Danny, Doris, and Davina present) over the racial realities of “Progressive” multicultural America.
Their argument quickly escalates in a scenic crescendo, an instance of the proverbial battle of European man: “Rome against Judea, Judea against Rome”. In this context, Derek’s remark towards Murray explaining how he’ll never let him “fuck” his mother, is a particularly rich slight. The Gentile, as always, is unaware.
Following an intense fight with Murray and his family (here one can’t help but notice Kaye’s depiction of Derek choking Davina, the Shepherd “King David”, with a slab of roast beef), Murray capitulates to Derek, and following this confrontation the viewer is meant to feel nothing but guilt for any sympathies they have held about Derek up until this point.
The next flashback is Kaye’s “Nail in the Coffin”, his total moral indictment of White, Gentile Man. We are shown the “missing” detail of Derek’s introductory scene. The victim, Lawrence, is executed with absolute cruelty, his skull and teeth shattering into pieces under Derek’s heavy, black military boot. (Note: the name here, a reference to “Laurentum”, which may correspond with biblical quotations about “laurel leaves” isn’t relevant. The English “Lawrence” is simply indicated as “another” Gentile; signifying that this scene represents, to Kaye, “senseless violence”.)
The scene is meant to provoke disgust, at the most primal level, towards “animalistic” Gentiles (especially Whites), those no longer bound by the code of the Jewish Church.
Following this exposition, we are now shown “Cameron Alexander’s” D.O.C. party, where Derek meets and confronts Cameron. Cameron is an unclear figure, whose role was most altered from McKenna’s initial script, assuming a more minor role (McKenna’s initial script portrayed heavy narcotics-trafficking, and a theme of racial-predation committed by Cameron and Seth – another character who was demoted in the final production to a minor role). Cameron is ostensibly a “Pagan” Gentile Warrior-King, but it is interesting that esoterically speaking, the last name “Alexander”, along with his repeated and highlighted cowardly behavior, possibly indicates partial Jewish ancestry. (The explanation for this is complex. If you’d like to, read it on Mark Brahmin’s blog here.)
In any case, Derek rebukes Cameron, the elderly steward of the gang, over his intended grooming of Danny, physically assaulting him, and leaving with his reputation in tatters after brandishing and firing a pistol towards his former D.O.C. gang members. As Danny finds Derek after the party, Derek solemnly recounts his tale of how he came to abandon his racial consciousness, and embrace contemporary Judeo-Christian “Progressive” morality.
*Author’s Note: The opening and closing “ocean” credits are controversial, and the whole of their meaning remains unclear amongst cinephiles. In the interest of being thorough, I will entertain one of the more interesting interpretations: It is known that Tony Kaye is a devoted practitioner of Kabbalah, and so the “otherworldly” ten-shot sequence of the sun, sand, and sea which slowly withdraws into the everyday creation of the “real world” on Venice Beach, possibly represents the ten Kabbalistic Sephirot. In the common understanding of Kabbalah, the true nature of God, designated as the unknowable and “unending” Ein Sof (אֵין סוֹף), must be “filtered” through ten separate “emanations” until it becomes knowable in the real world, understood as “the kingdom”, the final Sefira of Malchut (מַלְכוּת). It is possible that this Kabbalistic metaphysic is being alluded to in the opening credits by way of numerology, and that the ending sequence (alluding to the number 6 – associated with compassion, harmony, and love in Kabbalah – which is the film’s ostensible message) has a similar meaning. This schema can even be applied to the members of the Vinyard family themselves. Given Kaye’s devotion to Kabbalah, it is interesting and certainly possible that this interpretation was a relevant one, but as my opinion goes, it is far too presumptuous to affirmatively state that these esoteric meanings can be assigned to the opening and closing credits. The analysis must be kept to a certain standard, and in any case, this interpretation is of little (if any) propagandistic effect. Ultimately, the Jewish/Gentile contrast and blood mixture designated by the sand and the sea, along with the large, red, “X” is the significant theme of the introductory credits.)