The Good; the Bad and the Ugly

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The Good; the Bad and the Ugly

The spaghetti western movie "The Good, The Bad and The Ugly", is yet another inversion of Luciferian allegory modeled along the lines of Illuminism, the synarchic distortion of the Luciferian doctrine. In the context of this movie the 'good', is played by Clint Eastwood, whose name 'Blondie', making out the Hyperborean Nordics (Vanir, in the Eddic tradition; Devas in the Vedic, and the distorted conception of the Nephilim in the semitic worldview, an inversion of the reality).

'Blondie', is a Luciferian figure christianized and distorted by the producers as a reflection of the historical process of historical distortion, calling itself 'His-story', the judeo-christians story of jewish supremacism, the distorted portrayal of paleo-history and Aryan spirituality, the rendering of the archetype of Wotan, the initiate and indeed the god, into a physical rabbi who existed at whatever time and place (a fictional absurdity, a microcosmal instantiation of a macrocosmal god, the Demiurge).

Eastwood's role is to instruct the 'ugly', as portrayed in the movie by a Mexican (the pasu or beast man, non-white, the less 'evolved' soul, having incarnated in that particular flesh body as of a certain type). The 'ugly', thus, are placed under the tutelage of the 'good' (shepherd kings, priests of the order of Melchizedek), who shepherd their flock of puppets, teaching them 'morality'. The proper form of conduct and means of achieving higher ends through hard lessons of cause and effect, period. The 'ugly', are portrayed as pursuing base ends of materialistic and either subordinating materialism and other subordinating themselves to the priest caste, despotism of judeo-christianity, the world orders exoteric mind control cult (of whatever form of worship of the Demiurge and belief in various stories, so called by, presumably, the 'Yahweh collective' of extraterrestrials).

Or to follow a life of bondage as an outlaw. It is the outlaw who rejects (perhaps, as a result of a healthier consciousness), the religious programming, who is accepted by Lucifer, Blondie, for tutelage and spiritual upliftment. And the two thus form a pact together, working against a system of the Demiurge's outlaws, similar to Klaus Barbie, the National Socialist, and Pablo Escobar, who built their underground empire on, 'criminality' i.e., that which transgressed the orthodoxy's rules and which is labeled by the orthodox as 'crime', i.e., prohibited action.

The good and the ugly, thus, are united for the spiritual liberation and upliftment of the, 'ugly', with 'the good', descending into the world of matter, and this with deliberate intent, though the movie simply depicts him as a roaming figure without any 'home', or place within the hostile world ('the Valplads', or battlefield, as it were as it is called in the Nordic Edda).

Blondie's motivation is to pursue gold, which is perhaps a metaphor of alchemical gold through the process of the magnum opus and its phases of nigredo; albedo; rubedo, etc.-with the nigredo phase being the descent into hell as the dark night of the soul and second birth, etc., with assistance being tendered to the pasus as means of liberating them, those worthy of it, those endowed with the fighting spirit of the Hyperborean blood, however tainted by the racial sin. The two pasu Mexican brothers represent both paths, with the weaker, younger sibling following the path of the church (the mother, caregiver of the weak, as a dependent whose spiritual vitality is inferior and therefore had recourse to such a path, and the elder brother, whose vital capacity is of a superlative nature, thus follows the independent path of the virya/warrior).

However, asleep or awake towards his liberation from the Demiurgic slave prison. 'Blondie', is in part, an adversary or fellow competitor, yet a comrade or companion only of a superior type and is attempting to lead the 'ugly', (the base lead of the pasu of diminished Hyperborean blood), toward the 'gold', of the grail along the quest of the hero.

Simultaneously, the 'bad', played by the crypto-jew Lee Van Cleef, plays his role attempting to lead the undeveloped pasu astray towards his dark side path of 'amoral-materialism', regardless of the cost to others.

The 'bad', is thus the archetype of the jew, a treacherous, backstabbing self-server whose only motivation is, 'service to self' and this via usury of others and guileful manipulation. The 'ugly', has led astray at certain points and yet, for the most part, follows in the footsteps of the 'good', leading himself to the final conclusion wherein the 'ugly', is facing off with 'the good', and the 'bad', and the good manages to dispatch, 'the bad', having emptied the gun of the 'ugly', (i.e. He prevented the ugly from using technology that harms others that the 'good', has invented and uses only for a 'good', purpose according to judeo-christian norms of 'morality', so-called).

The ugly attempts to use the empty gun on the 'good', thereby demonstrating his failure to attain alchemical gold ('treasures in heaven'), and blondie, the 'Luciferian figure', leaves him with his pile of material gold unable to 'take it with him', owing to its too great weight.

Of course, this allegory is purely judeo-christian and an inversion of reality where in actuality all parts are neither 'good'; 'bad'; nor 'ugly', but simply beings vying for personal advantage with some having greater other regard and some less, but nonetheless all partaking of 'gold', and the alchemical or the physical sense and serving themselves, though ostensibly serving others.

This christianization (Demiurgic resignification), of the Luciferian reality portrays spiritual liberation (the goal of the Luciferian), as soul evolution via 'good works', and, though castigating organized religion (the dogmatic 'letter of the law'), nonetheless affirms its 'morality', only in a deeper sense of meaning. Nonetheless, a distortion of Truth. 'Blondie', in reality may have left the 'ugly', in the lurch with his gold if he wanted to no longer play the role of liberator and to fly the earth, the mortal coil and veil of tears-yet the reality of Lucifer is a spiritualization of the earth in a Hyperborean civilization of light and life with the 'ugly', being allowed to play their role according to their talent and capacity in their own region with their own kind. But in conjunction with the Aryans and for mutual aid and benefit.