Fragments: Sergeant Bilko

These are David Duke's personal impressions of encounters, issues, and people. The following concerns a quick trip to the movies.

I had just spent a hectic three days preparing my first large campaign mailing, and I was in need of some diversion. A friend suggested attending a movie on Easter evening, a comedy (to give my mind a rest from the more ponderous issues for a while). We chose to see Sergeant Bilko mainly because of the starring role of the usually quite funny Steve Martin.

My attempted respite accomplished the opposite of our intentions.

The movie depicted an army base threatened with closing from government cutbacks. Martin played the role of the incorrigible Sergeant Bilko, a con-artist of extraordinary caliber, but humorous and likable despite his larceny. Needless to say, the motor pool platoon that Bilko ran was not made up of the majority elements of the likes found in the original Sergeant Bilko of early sixties television, it was an authentic version of the new minority-ized "action army." Other than Bilko, there were only a few majority types in the film, and they were especially stupid, slovenly, weird, and unappealing as possible. Meanwhile, although the Blacks portrayed in the film may have been willing to go along with Bilko's light-hearted larceny, they were always depicted as "cool dudes" who were likable and sincere.

The Whitest of the bunch, the thoroughly despicable Major Thorn, played by Phil Hartman, dyed his hair blonde for the filming so as to appear, in his own words, as "Aryan" as possible. Years earlier, Thorn tried to stop Bilko's bribery of a prize fight, only to be unjustly accused of it himself and shipped off to frigid duty in Greenland. Upon his return years later, he was willing to do any dastardly act to get revenge, including an attempted seduction of Bilko's girlfriend, and falsifying Bilko's computer records to accuse him of a particularly larcenous crime, one of the few he had not committed. Thorn then successfully contrives Bilko's tentative transfer to Greenland, and the planned closure of the military base.

The main Black character of the movie, whose narration opened the film, was a gung ho, patriotic--do it according to the regulations sort of a guy--who was transferred to Bilko's platoon from another base. In short order we are informed that he was top of his class in mechanics, and we find out that in addition to being honest, brilliant, sincere, and competent, he is an accomplished and brave fighter, for when threatened, he instantly brings a White attacker to the ground.

There is no way I could adequately convey this Blackman's holiness. I kept expecting to see a halo emerge from his afro-sheen and fill the whole screen with it's radiance. I was surprised that his surname wasn't King or Mandela.

In one scene he righteously complains about his overweight White roommate for continuously wetting his bed, "from across the room." Could you image the racial roles in that scene being reversed, we would still be reading the livid denunciations of the film, not just in the movie review sections of the newspapers, but on the front pages as well. As the only appealing character who doesn't want to go along with the larceny and laziness of Bilko's platoon, the Black soldier finds himself somewhat ostracized for trying to wake up his fellow soldiers instead of letting them sleep most of the day after a wild party. Eventually, though, he comes to like Bilko so much that he brilliantly comes up with the plan Bilko uses to stop his transfer and save the base.

As a sidebar, two nerdy accountants (a black male and a White female) brought from Washington to check on Bilko's books are nudged by Thorn into a romance so that he has the opportunity to falsify Bilko's computer records.

The White patrons in the theater were looking for a laugh as I was, but did they see what I saw, understand the underlying theme of this film? I doubt it.

I came there for a short respite from the fight, but found none. For those of us who are aware, there is no escape. Not only is our heritage spiritually under attack in movies such as Sergeant Bilko, it is physically under siege with the immigration and non-White birthrate that has already inundated our largest cities and now stretches its tentacles into to the once white enclaves of small town America. The spiritual assault has gone on for a long while and has made possible the physical assault, yet for many areas of America the nihilism of Bilko represents an epitaph not a portent.

Seeing that supposedly harmless comedy did not affect me as much as the accounts I read of the plague of rapes and murders of White women by Blacks. It did not trouble me as much as the pitiful letters I often read from White students who are forced into mostly Black schools devoid of learning and bursting with hate. Still, it made me feel very uneasy, maybe not so much because of the unfair image it presented of our people, but perhaps because I doubt that few of our people who see it will perceive the wrong that has been done to them. How can our people embark on their fight for freedom when so few are even aware of their subjugation?

Perhaps these words will kindle just the smallest spark of racial recognition in the minds of our folk who saw this film. Those who really do understand racial reality will have a predictable reaction to Bilko. First, they will experience the depression born from seeing their heritage under attack by a powerful and often unanswered media, but then their healthy genes will transform the depression to anger. Ultimately, from that anvil of anger they will forge a sword of determination.

There is no respite from the enemies of our kind who control the media and the government of modern America. There is no time-out in this contest. We see the dark change coming in our crime statistics and school scores, in the drug abuse and the degradation of our culture, in affirmative action and rap music. And, we see it in the popular films that pervade our culture. Yet, for those of us who are racially aware and still have some pride in our heritage, such anti-White-ism only fuels our resolve to end it. Our cause is part of our sinew and part of our soul, it is written in our genetic code, and it creates a hunger for justice and victory that can only be satisfied by work and sacrifice for our people.

My immediate response to Sergeant Bilko, was to expose it. Perhaps for some young people, the words they are now reading will help turn this film and knowledge of it, from one more nameless, anti-White flick, to a wake up call for our kind.