Here's the plot summary: A young Viking boy in the Americas around 900 A.D. is raised by native 'Indians', takes a liking to a native girl, and feels guilty for the mass slaughter of natives by the invading Vikings, so he decides to betray his own people and help the natives wage war against the Vikings. In the end, he successfully helps the natives defeat the Vikings, and becomes a leader in a native tribe.
Whites betraying and destroying their own people, mongrelizing their genetics with other races, and happily participating in the genocide of their own kind? A Jewish dream come true!
On Vikings and Victims: White-Guilt in Context
By Raymond Ibrahim
December 14, 2008
All-permeating "white-guilt" did not appear out of thin air. It has taken a sustained propaganda effort, a wide-ranging mobilization of education and culture, to inculcate and sustain self-loathing among American Caucasians. Like the Coca-Cola TM brand, white-guilt needs endless repetition to remain struck in the thought and behavioral processes of the masses.
The movie Pathfinder, which I saw on cable, offers a vivid example of the sort of brainwashing intended to refresh the white-guilt TM brand in the thinking habits of young people in particular.
Set around 900 AD, the film deals with Viking incursions into North America. The Vikings are portrayed as ironclad giants -- more monster than human -- mounted atop massive Clydesdales, barking and grunting obscenities in some strange tongue; the natives, as expected, gentle, innocent, and peace-loving. This theme, of course, is not new.
Subtleties playing on white-guilt, however, are spread throughout. Consider the usage of language. The Vikings speak only Norse, with English subtitles (though the viewer could do without, since apparently the north-men had naught to utter but barbarities and cruelties). Conversely, the natives rattle off in 21st century colloquial English. If the movie was primarily interested in authenticity (let alone objectivity), both languages -- Native and Norse -- should have been used (as in The Passion, where Latin, Hebrew, and Aramaic are maintained throughout). Moreover, if either of the two languages should have been rendered into English, logically it should have been Norse, which is at least etymologically related to English and in the same linguistic group.
Of course, philological fidelity is not the movie-makers' primary interest; empathy by association is. Violent Vikings are left to babble unintelligently about fire, war, and iron, while Natives talk of love, peace, and courage -- all in very smooth English. Americans are supposed to identify with the natives, not their Norse co-linguists, nor, for millions of American viewers tracing their lineage to Scandinavia, their ancestors.
Language manipulation aside, the depiction of Vikings as brutal warriors and plunderers is at least plausible and historic. The Native presentation, on the other hand, is neither. Indeed, the cultural anachronisms of Pathfinder suggest that 10th century natives were akin to modern-day liberals, easily "traumatized" and constantly in need of "therapy" and "reaffirmation" -- concepts wholly non-existent in the 10th century.
From the start, a native woman encounters dead bodies and starts shrieking (she is "traumatized") and running madly -- as if living in 900 AD North America (or anywhere else at the time, for that matter) men, women, and children would not find the sight of rotting corpses banal. In the midst of this carnage, she happens upon a Viking boy who brandishes a sword at her. Instead of reacting instinctively -- fight-or-flight -- she casts a loving look at him as if to say "You poor boy; what have they done to you?" and embraces him.
In fact, the main reasons that make the hero of the story, this same young Viking grown into manhood, agreeable, are his "liberal-therapeutic" tendencies. He has "daddy-issues" (his father beat and abandoned him for not being "man" enough) and is "confused" about his "identity," finally sloughing off his violent Viking (read: "white") heritage in favor of a sort of "multi-culti" native identity, thus making him the triumphant hero we can all support and identify with.
Of course none of this should be surprising; neither presenting dead white men as the personification of evil nor presenting non-whites as the personification of good -- especially Native Americans, who have all but come to be the paradigmatic "noble other" who suffer countless and untold depredations at the hands of the white man. This theme is well rooted in popular culture, thanks to academia. Indeed, this motif is so ubiquitous that none other than Osama bin Laden exploits it to make white Americans feel shame and guilt.
This "noble-victimized-non-white" paradigm has further come to be applied to almost all non-whites. For example, early sub-Saharans are always portrayed as a peaceful people who simply wanted to live and let live-until warlike white man came along. (Pointing out that it was fellow Africans who sold their kinsmen into slavery is unpopular in polite -- that is, white-guilt laden-conversation).
The boy who would come to be named Ghost was with a group of Viking colonizers who planned to exterminate the local population. Their dragon ship was somehow destroyed with the passengers brutally killed, leaving Ghost as the traumatized sole surviver. A native woman finds Ghost in the wreckage and adopts him as her own son.
Years later, Ghost remains tormented by his dreams, which along with his different appearance, interfere with his ability to fully assimilate into the community. He has feelings for a young woman from an allied tribe named Starfire, the daughter of Pathfinder, a man searching for a worthy successor.
Later, while hunting and gathering with the group, a young girl from Ghost's tribe wanders off, encounters a Viking and is attacked. She escapes back to the village, but is followed by the Vikings. They raze the village and slaughter nearly everyone, except a few men whom they want to murder individually in "duels." Ghost arrives back at the village too late. The Vikings decide to make Ghost duel; he maims his opponent and escapes. Injured during the pursuit, he hides in a cave where he is found by the allied tribe's hunting party. They bring him home, and the warriors discuss taking the initiative against the Viking invaders. Ghost, however, warns them that their wood and stone weapons are no match for the Vikings' metal armour and blades. Ghost advises the villagers that their only chance of survival is to flee, and he departs to take on the Vikings alone.
He finds that he has been covertly followed by a mute admirer. In an abandoned village, they set a series of traps. Starfire, meanwhile, has chosen to leave the tribe and finds Ghost and his colleague. The three kill the Vikings off individually, stealing armor and weapons. Pathfinder, like his daughter, also finds Ghost and joins the fight. Eventually, both the mute and Pathfinder are killed, and Ghost and Starfire are captured. Ghost is recognized as the son of a Viking. The Vikings threaten to torture Starfire if Ghost will not betray the location of other villages, so Ghost agrees to help the Vikings.
Having gained the Vikings' trust, Ghost leads them along a dangerous mountain path. He insists that everyone be tied together to reduce the risk of members falling off the high cliff, and the Vikings do as he says. Clever Ghost then creates a domino effect so the entire string of Vikings falls over the cliff, all tied together. After a duel on the mountainside with the Viking leader, Ghost eventually shoves the invader off the edge of the cliff, ending his life. Ghost returns to Starfire with Pathfinder's necklace, thus making Starfire the new Pathfinder after her father. Ghost assumes his position as the Coast Watcher, bravest of their tribe.