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GOTTI: Entertaining, Well-Paced and Well-Acted

By Gith Yankee

The film Gotti is an excellent example of what a healthy American cinema could produce, far outclassing the recent slate of horror and superhero films coming out of anti-white Hollywood.

Sadly, there is still some Jew-naming to be done here. The co-writer on the script is one Lem Dobbs (real name Anton Kitaj), a Jewish screenwriter. Many of the reviews however only name Italian actor Leo Rossi as the writer, so an argument could be made that Dobbs' influence was weak. The production is an interesting story by itself. Apparently, some shady Italians and a Jewish law firm defrauded an Irish construction boss out of a few million dollars to buy the rights and get the project started. It seemed it would be a total loss after all this came to light. However, the financing came through in the end. The director is an Irish actor from Entourage named Kevin Connolly and his presence is probably explained by the above-mentioned Irish financier. So, out of producer, writer, director and star, we're looking at an 80% or more white film. This certainly contributed to the virtues of the film which include it's praise of family and depiction of cultural unity.

The eugenic values of Gotti are present in every frame: the value of hierarchy, loyalty and family are omnipresent. La Cosa Nostra rules dominate the actions of the Italian mob families and demonstrate how a value system larger than one’s personal gratification can achieve great success. Absent from the film are gratuitous sexual content, suicidal families, Satanism and any forced diversity. In fact, the only diversity content in the film is probably the rap music intro and outro performed by Cuban rapper Pitbull. His songs are quite jarring. A more traditional music score would have served the film better into the future.

Another positive aspect of the film is the depiction of cultural unity. The Italian flag is omnipresent in the small mafia clubs and everyone is known to each other through family connections. Only other Italians formally vouching for each other's behavior are accepted into the group. Mafia vetting and honor concepts might not be the worst things to study when creating identitarian activist groups. Our political beliefs are essentially illegal in all of Europe and will be soon enough in the US. Homogeneity as a strength and the protective nature of the patriarch are all made clear in this film, especially in live interviews with actual New Yorkers at the time of John Gotti's funeral.

The film can certainly be regarded as historiography in many respects. The criminal base of mob profits is never shown and the human toll of prostitution, drug sales, and gambling are never depicted. The ending credits attacking "the Feds" for delaying John Gotti Jr.'s release from prison are quite humorous, especially in light of the federal indictments against the filmmakers. The structure of the film would have been better if it simply progressed forward rather than going back and forth from the eighties to the seventies. These quibblings are quite minor however. The film glorifies family and country, and in these fallen days it must be praised for that. I'm glad I saw Gotti. Believe the people's reviews and not the critics on this one. Entertaining, well-paced and well-acted.

[ Editor's Note: There is an entire sub-sector of Hollywood (Scorcese, Tarantino, etc.) dedicated to the glorification of criminality which is (((Communist))) subversion in and of itself. However, these are OUR criminals and given the incredibly degenerate state of cinema, we'll take what we can get. -HuWhite Lion]

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