Prison and “Conversion”
Derek’s prison experience is depicted in a grisly institution, where the truths of the “racist” reality are “laid bare”. Almost immediately, Derek is forced into a superficial racial rank-and-file. Kaye takes great efforts to depict the Aryan gangsters which shelter Derek as in fact, treacherous, and entirely disloyal to their own group. For Derek’s sincere racialist stance, he is betrayed, beaten, raped, and abandoned to die over the course of his prison sentence.
What follows is Derek’s “Conversion” to Judeo-Christian “Progressivism” by way of the hidden handiwork of a Jew.
Perhaps the most interesting character in the prison is “Lamont” (meaning “man of law”), a scrawny black inmate who while folding sheets in a cloud-like laundry room full of pillows, teaches Derek, with great compassion, to overcome his racial consciousness, and embrace the “Progressive” worldview.
As alluded to above, Lamont is a Jewish character, his name indicates this esoterically (despite being a Scottish name of Norse origin, it is an overt, explicit reference to Jewish Law), and his mannerisms (neurotically witty, overly sexual, morally sanctimonious) bear this out.
(Note: Interestingly, neither the “Lamont” character, nor his Crypto-Jewish plot line are included in the original script, written by the Gentile David McKenna.)
The filmmakers make it abundantly clear here that Derek’s ”Conversion” to “Progressivism” has saved his life, and that had he not come to know the wisdom of the Jewish Lamont, he would have been murdered without hesitation by the vengeful convicts who surround him.
The Wood and God’s Fire
Upon Derek’s release and homecoming, the most sinister of all suspicions is confirmed: as the Vinyard Brothers tear down the Nazi posters in their house, signifying a renunciation of “Anti-Christian” ideology and racial consciousness, they gaze hypnotically at a large, freshly bare wooden wall.
Esoterically understood, this is a startling, even terrifying scene.
This “wood” is a Jewish esoteric indicator of fresh Gentile human stock, corresponding to the Tree of Life in Eden, as well as the “wood” consumed by God’s “fire” throughout the Bible.
Upon repeated viewing the scene seems very unusual, as it is not obvious why the brothers remain staring at the wooden wall, or what it is, in particular, that they are staring at. Yet the implication cannot be clearer: the Vinyard Gentiles, now following Derek’s “Conversion”, will live at the service of the Jewish God.
(Note: Doris’ 4th child, “Ally” hardly pictured in the film before being “tucked in bed” prior to this scene, is indicated esoterically as Gentile. This designates her as the youngest of this new “stock”, and in accordance, as the future sustenance for Yahweh, or more accurately, the bridal stock of Jewry.)
Dionysus and his Vineyard
Continuing on this theme, Kaye shows us a flashback of a conversation that took place during a past dinner with “Dennis” Vinyard, the murdered fireman, and father of Derek.
“Dennis” is an esoteric reference to Dionysus, a God widely understood by Jewish esoteric artists to be a Jewish reference, who (signifying “The Vine”), is also symbolically antecedent to the Jewish Christ himself. This “Jewish” association with Dionysus was well understood by the ancients in the “Roman Interpretation” of mythology (The Interpretatio Romana), and is incredibly common in many forms of Jewish art and Media.
Despite this however, Dennis is indicated as a Gentile. The fact that Dennis is a career “fire-fighter” is a significant esoteric detail, one which Kaye stresses in every scene he is shown or mentioned; the reasoning here being that the Jewish God is a Fire God.
However, the real clue lies in the last name “Vinyard”: it is not only designating “the Vine”, but a “Vineyard”, implying a “harvest” meaning in effect, “Dennis’ or Dionysus’ Vineyard”, indicating ownership. This implies that Dennis’ offspring and wife (the Gentiles Doris, Derek, and Ally) will become the possession of the Judeo-Christian tradition and the Jewish God, a synonym for Jewry itself.
This “ownership” of the Vinyard Gentiles by the Jewish God is further confirmed, esoterically, in the prior scene with the “wooden wall”. Namely, the Vinyard Gentiles are “His stock” and “His vineyard”. Dennis’ family is a harvest.
Crucifixion and the Aftermath
Shortly after this flashback, we witness the killing of Danny Vinyard, at the hands of the black thugs left unchecked by dint of Derek’s newfound racial blindness. I have chosen a still of the blood-soaked “Little Henry” during Danny’s execution as the featured photo at the top of this essay, in order to demonstrate the sheer profundity of Jewish esoteric art.
Take a look at it again.
When understood correctly, this was not meant to be a scene that depicts a Black boy killing a White one. This is a scene that subconsciously depicts a Gentile killing a Jew.
In fact, watch “Little Henry” closely in this scene. Notice how he acts. There is no joking, no taunting as before, no smugly brandishing the gun, aiming it, or turning it sideways. Only a dead, stoic gaze. Here especially, it seems Kaye is depicting him as a specifically Aryan archetype, the “Bad Gentile” type established in the opening scene with Derek, an “Anti-Christian” Gentile capable of ruthless violence. In effect here, “Little Henry”, the black thug, is designated as a proto-“Nazi” vis-a-vis his Jewish victim!
The power of this esoteric “framing effect” is remarkable, and undeniable. Kaye wildly alters the moral judgements and emotions of his audience by way of his skilled use of Jewish/mythological esotericism and naming convention. This highly “encoded” tale is told while simultaneously telling another one, a simpler one, a tale for the herd, a tale which amounts to (whilst subconsciously justifying) a ruthless moral accusation of the Gentile Derek, the only character who saw the world for what it was, and tried to prevent the occurrence of tragedy.
In summary, it is implied that Danny’s death is the fault of the only character who truly understood the realities of life, helped to strengthen Danny, and took all efforts to protect his family. Derek was the only character who was strong when it was necessary, and as a twisted result, Danny’s gruesome death is portrayed as a consequence of Derek’s “sins!” This moral condemnation is striking, and entirely unclear upon examination. Such is the skill of the esotericist. In fact, it is difficult to even imagine an ethical paradigm in which Derek could be understood as blameworthy for what had occurred. I suppose soldiers should apologize for war. I suppose Danny himself should have been less confrontational, staying quiet in the school bathroom stall and cowering for all of those years.
The clearer picture is that Derek was led along throughout the entire film by a Jewish influence (which had unknowingly saturated his entire life), in collaboration with the “Progressive Church” of contemporary America, which clandestinely manipulated him into condemning and abandoning his racially conscious understanding of the world, even in times when it was desperately needed as a matter of survival. In fact, throughout the whole of the film there is an implication that if the contemporary “Progressive” White Man falls “out of line” even for a moment, all hell will be visited upon him and his entire world.
Weaker men, who would not stand up for themselves are implied as the only “moral” type. White, Gentile “strength” is not even permissible.
Indeed, Kaye has turned Gentile “strength” itself into “evil”.
Pacifism, and ultimately self-sacrifice, is presented as the only path to redemption.