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This statement appears in the October 17, 2003 issue of Executive Intelligence Review.

Hitler and Schwarzenegger
As Beast-Men

by Lyndon H. LaRouche, Jr.

Oct. 4, 2003 (EIRNS)—The following statement was issued on today by the candidate's Presidential political committee, LaRouche in 2004.

Many Californians and others have found it difficult to explain how and why Hollywood geek-act Arnold Schwarzenegger could have become so suddenly a prominent contender in an impromptu race for Governor. They have been caught off guard by Schwarzenegger, because they never really understood how Adolf Hitler came to power in Germany. They have overlooked the fact that Schwarzenegger was chosen for politics because he is in real life, the unhuman beast-man whose role has been his most lucrative Hollywood screen-role. They do not understand what fascism really was, and is.

Schwarzenegger was thought of as only the kind of actor whose natural talent was giving Narcissus a bad name, for a co-starring role in real-life sleazy peep-shows, on- or off-stage. If they liked his movies, it was because they liked the smell that reeks around dirty peep-shows. How did he suddenly get into politics? Schwarzenegger was never really an actor, not a political thinker; he was, like the worst of his film characters, essentially a freak: a "Freddie," a "Jason" from "Friday the Thirteenth."

Hitler, too, was a freak, a bizarre, predatory beast from the pages of Satan-cultist Friedrich Nietzsche. It was his success in training as an actor, that Hitler was trained to play the theatrical role through which he campaigned for and became the beast-man dictator of Germany. Schwarzenegger was selected because his training for film-acting had produced a type who fit the essentially Satanic, "beast-man" role played by leading fascists such as Benito Mussolini, Adolf Hitler, Francisco Franco, and so on. He was another such "Dionysos" from the pages of Friedrich Nietzsche's wild rants. The role Schwarzenegger was selected to perform on the California political stage was a Hollywood "remake" of a kind of evil which modern history has met in leading figures of France's Jacobin Terror, in Napoleon Bonaparte, and in each of the whole pack of leading fascist figures from the 1922-1945 interval.

The origin of those political figures in what has become known as the fascist tradition, is an exotic freemasonic cult known originally as the Martinists, which was used by a relevant network of private bankers to launch the French Revolution and the tyranny of Napoleon Bonaparte. It was the same Martinist cult, known during the Twentieth Century as the Synarchist International, which created the fascist beast-man figures of the 1922-1945 interval, and has produced a new batch of Synarchist figures, including the U.S. neo-conservatives and Arnold Schwarzenegger today.

Schwarzenegger, like Hitler, is set apart in a certain way from more ordinary neo-conservatives such as Wolfowitz, Lewis Libby, and so on. Those neo-conservatives are beastly in their own way, but they lack that exotic appeal implied by the term charisma. Hitler was developed as a figure of charisma. Schwarzenegger has been transformed to similar effect, by Hollywood productions. Transformed from a sleaze-ball sex-freak of the body-builder sweat parlors, into a figure of charisma of a special kind: the charisma of the beast-man.

There is nothing really mysterious about the quality of charisma as represented by the images of Arnold Schwarzenegger or the Hitler who is his original role-model. The street name for Hitler's and Arnie's charisma, is fear, the mystical impression that this is a man to be feared, awfully feared. According to the original doctrine of the beast-man developed by Martinists such as Joseph de Maistre, fear of such predatory tyrants is not the fear of the power they are believed to represent, but the kind of wild irrationality associated with Roman Caesars such as Caligula or Nero; or that image of the Spanish Inquisition which the Martinists admired.

In short, select geek-act-artist Schwarzenegger to play a role like that a Caligula, Nero, Mussolini, or Hitler, on the living-theater stage of improvisatory real politics. Draw upon the pro-Hitler imageries which that actor had acquired from his family household and other elements of his surroundings, and then make the state of California the stage on which he is cast to act out that role.

The relevant lesson to be learned from the current situation in Iraq, is that neo-conservatives such as the fascists Vice-President Cheney, Richard Perle, Donald Rumsfeld, Paul Wolfowitz, and so on and so on, are not exactly geniuses. Their power lies not in the development of their mental powers, but in their lack of morals or rationality. Their power lies in their disposition to act in ways no sane and moral person would do. Their appeal lies entirely in the fear they instill because of the part they are disposed to play, in whatever roles, on- or off-stage, they are cast.