Swastika (1973) – the most sublime window into the past

Far out in exterior darkness where no breath stirs, no light shines, and no sound is heard, one can glance toward this spinning earth-ball. In the astral regions, illumination is of the soul, hence all is dark but this certain star, and only a part of it is aglow. From such a distance, one can obtain an utterly untrammeled view of what is transpiring on this earth-ball. Drawing somewhat closer, continents are visible; closer yet, population-streams. One focal point exists whence the light goes forth in all directions. It is the crooked peninsula of Europe.

Thus opens Francis Parker Yockey’s Imperium (1948), a book from the cosmic age. And such is the first vision in the magnificent film I had a chance encounter with – Swastika by Philippe Mora, a French-Australian Jew (thanks to Vlad Tepes’ note on Chechar’s blog).

From the very first seconds, I was amazed. I went in without inquiring about the date of production, so I had no idea what to expect – aside from the general philosophical premise. And it worked! This is a window into the past par excellence! It opens with a swastika (Hakenkreuz for you, Germans) rotating and floating in interstellar space to Wagner’s Parsifal (I think?), and then zooming in on the planet that is revealed to be Earth, the continent of Europe, the country of Germany. A Gesamtkunstwerk if I ever saw one! And of course, it is a hint to the date of production – the era of cosmic exploration is long over, with the demise of the Soviet Union, and the Faustian man has withered away since.

(It was something that confused me at first, as I’m not sure as to the technical capabilities of film-making in different decades. And then, I almost had a suspicion that it’s made in the 2010s by LARPers with perfect CGI – before realising that, of course, anything of the sort would be both illegal and beyond the pale culturally.)

I am not a pundit of delving into Hitler’s personal life, I barely watch three films per year, but this is qualitatively different from either any of the mute British Pathé or Deutsche Wochenschau snippets, or documentaries full of long-nosed voice-over. This film is loud with a lively voice, depicting the long-lost time, both in its immaculate choice of music and episodes of life.

Now, I could share a few words on the different scenes depicted.

The very commonality of children and young people is a sign of the times – as the demography is destiny maxim found its expression in the terrible wars of the industrial age. Now, we are a fading race, and we are no longer the subject of history.

The socialist character of Hitlerian Germany can clearly be seen – and not only in superficial features such as young girls in white marching with red ties, or with Hitler’s famously taking up a shovel. It is also demonstrated in two spectacular scenes:

1) in a hilarious interview of an Italian-looking man with a funny moustache (“Dirk Brinkley”?) proclaiming at 28:15 the following anathema of everything American:
I find that there’s a new fresh vitality here in Germany, under your great leader and chancellor Adolf Hitler, of whom I am a great admirer. The new Germany will live, for you have the best centralised government in the world to-day.

2) in a cute little poem at 24:24 that smells of Europe (and of the Soviet Union):
The Farmer who his acre tills,
The Teacher who wise lore instils,
The Mason whose hands new houses raise,
The Poet who distant worlds surveys,
Workers and heads of their profession
All take part in the great procession.

We’re marching with the aim
Our Führer has decreed;
He lit a guiding flame,
In Germany’s our of need;
He saved us from our plight,
Our love to him we vow;
We march in the morning light
To swear allegiance now!

At 01:03:10, there is an impressive and worthy portrayal of the Great German Art Exhibition, with magnificent music (apparently added for this film?). It must be remembered that whenever modern art-appreciators condemn Hitlerian Germany, they have no currency – as the authority on art was Germany, Germany as Europe, and the NSDAP as the pinnacle thereof. With Mitteleuropa in ruins, the remaining Aryan race is an orphan – which can be gleaned from the ignoble demise of Russia in 1991.

At 57:00, there is footage from the final Reichsparteitag. The final time! Indeed, Hitlerian Germany existed for the fleeting moment of 6 years of peace-time, and 6 years of war-time. I remember hearing about their atheist ceremony of proclaiming the life of the dead in their descendants (cf. this Albanian song), but seeing it for real for the first time is quite an experience. Akin to how knowing the pre-history of the characters when watching my favourite LotR music montage prepares the viewer to feel the correct and rich emotion.

The eerie wind in the background at 01:26:00 reminds me of the Husavi Productions meme that I encountered after the film – the striking premonition of the things to come. And come they did – the last war to date, that shook the foundations of Eurasia, disfiguring Earth forever. I do have questions to the Providence or to the god (the real one) – did the Germans misread the signs? Did their faith fail them? Were they doomed by the warmongering of their race-soul? Had Hitler been superstitious, he would have considered the „Hindenburg“-Katastrophe as an omen.

Europe was never rebuilt. The war mortally wounded the last shred of the Wille zum Leben of the Aryan race. Russia would murder itself 45 fleeting years later. America would soon follow. Japan brought herself to ruin by believing in the Führer. The time when the Occident raised the sign of the Swastika would prove out to be the watershed for the intelligent life on the planet. The only optimism to be derived is if there is to be resurrection, the fair race will shed Christianity for sure, as Joseph Walsh hopes. I, however, put my faith in Juche Korea.

Swastika (1973)