http://www.geocities.com/Hollywood/Set/8878/BoysFromBrazil.jpg

Some WN's might have a problem with the plotline, but I recommend this movie because the acting and script is excellent, but mostly because of Gregory Peck's superb portrayal of the formidable Dr. Josef Mengele.

The film brings up some interesting hypotheticals, such as if a exact duplicate (clone) of Adolf Hitler was created today, would he have any relevance as a political force in today's world?

Factoid: When this movie was being made, the real Josef Mengele was still alive in Sao Paolo, Brazil. He died in 1979, shortly after the movie's release.

I wrote this review of the film for VNN a couple of years ago (since lost):


The Boys From Brazil (1978)

by

N.B. Forrest


Directed by (Probable Jew) Franklin Schaffner



Based on the bestselling cold-sweat nightmare of yid scribbler Ira Levin, "Boys" begins with a young, kinky-haired jew "idealist" using his hooked probocis to sniff around South America on the trail of old Nazi "war criminals". He gets a local shitlet to plant a bug in the mansion of his German employer and hits paydirt: a secret meeting of SS men, including the hebes' most elusive quarry of all, Dr. Josef Mengele (Gregory Peck). Mengele tells the men he has a vitally important mission for them: they are to kill 94 old men living in various White nations. Jewboy takes his recording of the meeting, scurries rat-like back to his hotel and makes a breathless phone call to geriatric Nazi hunter Ezra Lieberman (played with just the right amount of jewiness by Laurence Olivier). Lieberman, kvetching about being woken in the middle of the night, doesn't want to hear it. Then Mengele & his SS boys kick the jewpunk's door in, give him the cold steel and grab the tape. Mengele picks up the receiver and listens in silence for a long moment as Lieberman says "Hello? Hello?", then hangs up.

Reluctantly, Lieberman continues the pursuit where the stiff left off. He cashes in a chit with a newswire crony who owes him a favor, asking to be informed about any unusual deaths of 65 year-old men in Europe & North America; sure enough, they start dropping like flies. Looking for clues as to the purpose of the killings, Lieberman interviews the widows. On the first such visit, he notices the widow has a rather aloof teenage son with dark brown hair and penetrating blue eyes. A son she clearly dotes on. The mean ol' bagel snapper takes an instant dislike to the poor little fellow. Next Lieberman moves on to the States to meet with another widow. As he questions her in her kitchen, who strolls in but the smart-ass German kid. The old zhid is astonished. "Do you know you have carbon copy?", he sputters. The widow tells him her son was adopted.

Lieberman is badly rattled now. He goes to a German prison to interrogate the woman who handled the American adoptions, a camp guard he'd been responsible for putting in the joint (Uta Hagen). Great scene: "Healthy Aryan babies they were, with dark hair & beautiful blue eyes - if you're looking for a lost Jewish grandson, forget it!", she laughed mockingly as he stared at her, his eyes slits. Lieberman then consults with a medical researcher and finally puts 2 and 2 together: Mengele cloned himself a mess of Lil' Adolfs down in Brazil then farmed 'em out. Now, 14 years later, he was waxing their domineering minor civil servant pappies in order to replicate the childhood environment of the Original.

The unforgettable showdown scene takes place at the Wheelock home in rural Pennsylvania. Mengele, by now on the run not only from the chew but also from his own people due to his refusal to pull the plug on his beloved project, arrives first. When Old Man Wheelock gruffly asks "You Lieberman?", he's surprised, but keeps his composure, nodding. Wheelock breeds Dobermans, which give Mengele a suspicious growl. After asking "Lieberman" about why he hunts Nazis, Wheelock snorts "I dunno about Nazis - it's the niggers we gotta worry about...." Do tell. Knowing he's got to get rid of the hounds, Mengele gives him a spiel about being scared of dogs ever since being attacked as a child. Wheelock laughs and puts them in the next room, locking the door. As soon as this is done, Herr Doktor pulls his .45, frog-marches Wheelock to the basement and ventilates him. He gets a photo album and his face lights up with glee as he looks at his creation.

He hears a car in the drive; his old tormentor at last. The jew opens the door to the living room and sees the man on the couch pointing a smokepole at him: "Herr Lieberman", he says quietly with a deliciously evil smile. The hebe charges like a mad bull; Mengele gets off a shot that badly wounds but doesn't stop him. Thus ensues one of the most exciting - and Depends-wearing hilarious - scenes in the history of film as the arch enemies tear at each other with tooth & claw, rolling around on the floor. I howl every damn time I see it. Finally, Mengele gets the upper hand and the pistol. Standing to his full height over the prostrate kike - deep scratches on his face, his white suit covered in blood - he utters with an SS guard's commanding voice one of my all-time favorite lines of dialogue: "Get up - Jew. Up!"

BWAHAHAHA!

I won't spoil the ending for the few here who haven't seen this masterpiece yet.

It's clear that Peck had a hoot portraying Mengele; he literally eats up the screen. In another side-splitting scene he attacks one of the assassins at a Nazi ball, in the mistaken assumption that he'd failed to carry out orders. "Shut up, you ugly bitch!", he barks at the man's wife as she angrily scolds him for attacking her hubby.

James Mason is in it, too. Now, what more could you possibly ask for?

God, do I love this movie. Do yourself a favor and see it.

Worth seeing if only for hearing Peck shout "That infernal Jew!"

Ah,come on guys,you know damn well the movie is as anti-White and anti-Nazi as it gets,even if it has some great moments like that.Gregory peck couldn't have enjoyed playing Mengele,because 40 years before,he made "Gentleman's Agreement",a movie attacking anti-semitism.If he enjoyed anything,it was playing him as a moster,meaning,not anything but sympathetically.Plus,I believe he was jewish.Either way,this movie,"Gentleman's Agreement",or "Kill a Mockingbird",and a couple of others ,he was truly anti-White,may he rot in hell.

Gregory Peck wasn't Jewish, he was Irish/Scottish/English Catholic, but reportedly he fought against racism all his life, and especially in movies like "Mockingbird" and "Agreement".

yes but in Moby Dick he was a damn good Ahab.

BANISH YE NOW ALL FEAR!

a movie every obsessive personality should watch....