There are different ways to “pacify” men and nations. Carpet bombing, or Soviet totalitarianism, is one way. But “liberal democracy” and the “consumer society” work much better.
The Advocacy of Race-Mixing and the “Open Society”
Jews have always encouraged immigration into all the countries in which they have ever settled, not just because a multicultural society corresponds to their politico-religious plans, but also because the resulting dissolution of national identity protects them from any “nationalistic” upheavals. All Jewish intellectuals – absolutely without exception – are focused on this question of the “plural” society and are obsessed with ceaseless “anti-racist vigilance”, regardless of any other political differences. Immigration from the Third World is thus presented as “an economic necessity”, an “indispensable contribution”, an “extraordinary enrichment”, etc.
Jewish intellectuals exhibit a certain characteristic inclination towards enormous untruths. They will tell you, for example, that immigration hasn’t really increased at all; on the contrary, it has never been so low! This inclination to treat the goyim like a load of simple- minded fools is called “chutzpah” (pronounced with a German-style guttural “r”). The demographer Gerard Noiriel, the essayist Guy Sorman, the sociologist Edgar Morin (Nahoum), the philosopher Alain Finkelkraut and diplomat Stephane Hessel, for example, became famous for these little exercises.
To the general public, this unceasing, indefatigable, planetary propaganda is most obvious in film production. All Jewish film producers have released at least one or more films advocating race- mixing and the “multicultural society”. Just watch the films by Claude Longmann, known as “Berri” ( One Stays, The Other Leaves); Matthieu Kassovitz ( Café au lait, White Nightmare); Claude Lelouch ( Itineraryof a Spoilt Child; Smic Smac Smoc), Francois Luciani ( The Man WhoCame from Somewhere Else) Edouard Molinaro ( The Hearts of Men), Gerard Oury – at the end of The Adventures of Rabbi Jacob, the Arab Slimane, naturally, marries Pivert’s daughter – Robert Guédignan ( Where the Heart Is). Guédignan also produced Marius and Jeanette, in which the main character, Jeanette, lives alone in Marseilles with her two children, fathered by two different men. The older daughter has been duped by a cad who deserted her – a white man (naturally) – while her 12-year old is an African half-caste who “works very well at school”, etc.
Renaud Cohen is a small-time producer, but his film Once WeGrow Up (2001) is rather eloquent: the main character, Simon Dadoun, is a thirty-year old Jewish journalist. He breaks up with his girl friend (a goy) and meets a Sephardic Jewess, like himself. The French, by contrast, are depicted as much inclined towards race-mixing: Both of Simon Dadoun’s friends, in fact, are interracially married: one to an Asian, the other to a Senegalese. The same film also defends lesbianism – again – in a highly “multicultural” context.
Or just watch the films by Bernard Stora ( Another Life), Giles Pacquet-Brenner ( Gomez and Tavares), Daniel Vignes ( Fatou fromMali), Dominique Baron ( The Tress of Aminata), Cedric Kahn ( TooMuch Happiness), Nicolas Ribowski ( Perigord Noir), etc. In The Enchanted Parentheses (1999), by Michael Spinosa, the French are once again depicted as fated to mate with Blacks and Orientals. The producer also depicts adultery, Marxism, feminism, etc., with great indulgence.
“American” Jewish film producers are obsessed with these same things as well. You really must see films like Roland Emmerich’s ( TheDay After Tomorrow, 2004), or Marc Forster’s ( Monster’s Ball). In Love Field (1993), Jonathan Kaplan tells the story of a beautiful blonde who leaves her idiot of a husband and falls in love with a Black.
In Guess Who’s Coming to Dinner (1967), a young beauty introduces her husband to her parents. Her husband is a Black, likeable, cultured, intelligent. His natural charm and niceness overcome the instinctive and vicious mistrust of her bourgeois white parents. The film, by Stanley Kramer, naturally won ten Oscar nominations.
You can go much further back than that if you wish: West SideStory, by Robert Wise (1961), is a musical propaganda film in favour of the “multicultural society”. In 1950, No Way Out told the story of a black intern in a hospital. It was a plea against “racism” by Joseph Mankiewicz.
Today, early in the 21st century, this propaganda is becoming even more extreme. The television series “Life’s So Sweet” shows young white women mating with Blacks, while young white men are depicted as homosexuals.
All the screen plays for the films listed above were written by Olivier Schulzinger; in fact, any time you see a white woman paired off with a Negro on the screen, you can be very sure that you’re watching something produced by the “Chosen Ones”. As we can easily see, the Jews are totally obsessed with race-mixing and ethnic mixing; but one must, of course, bear in mind that this “line of goods” is intended for “export only”.
Making Whites Feel Guilty
“Cosmopolitan” film producers work untiringly to make Europeans feel profoundly guilty for their past, to make them ashamed of what they are. All these incessant “sensitisation” campaigns on topics like “slavery”, “colonialism”, the “looting of the Third World”, “globalwarming”, “Auschwitz”, etc., have one object – and one object only – and that is to bring about the advent of world government.
In “cosmopolitan” Jewish cinema, psychopaths and villains are invariably depicted as possessing typically Nordic traits, complete with blonde hair and blue eyes. This is not an accident. In The CrimsonRivers (2000), for example, Matthieu Kassovitz shows us dangerous “neo-Nazis” torturing and massacring innocent people.
Six-Pack (1999) is a film by Alain Berberian: a Parisian commissioner of police is anxious to capture a serial killer who has already killed and mutilated five young women. The “bad guys” (the chief of police, the psychopath) are played by Nordics, while the “good guys” (Commissioner Nathan, Inspector Saul), are, once again, are played by very typical Mediterranean-types.
“American” film directors are animated by all these same hatreds. In Panic Room (2001), by David Fincher, three criminals break into a house. The gang leader is a white man, a very frightening, unpredictable, highly nervous person, who ends up with a bullet in the head. The second criminal – another white man – seems very calm, but is, in reality, an extremely dangerous psychopath and “mad-dog killer”. The third, a Negro, is intelligent and humane. None of this is by accident.
See Runaway Jury, by Garry Fleder; The Green Line, by Frank “Darabont”; Fatal Obsession, by Jonathan Kaplan; Ragtime, by Milos Forman; or Barton Fink, by the Cohen Brothers, and you will see that the “bad guys” are systematically depicted as white men, and white men only. In Cop Land (1995), by the extremely sly James “Mangold” (Goldman), the “bad guys” are all white cops, while on the other side of the river, in New York, the “multiracial” police are portrayed with the greatest sympathy.
In the comedy entitled Addams Family Values (1993) the characters whom the audience initially mistakes for the “bad guys” – real villains – are, in fact, very nice (with very black hair), while the “bad guys” are invariably blonde-haired children. The film is by Barry Sonnenfeld.
Mississippi Burning (1988) by Alan Parker, is an attack on the Ku Klux Klan. In a little village in the southern United States, the whites are all bigoted, racially-prejudiced cowards, narrow-minded, evil, and downright contemptible. The women are depicted as intimidated, bullied into submission, dreaming only of escape.
In Alien 3 (1992), a space ship crashes on a planet where the “Company” once built a penitentiary for dangerous criminals: killers, rapists, and psychopaths. The “bad guys” attempting to rape the heroine are, of course, all white, while the “good guy” who rescues her from this terrifying predicament is a huge Negro, the only mentally-balanced person among the prisoners: he’s the boss. This film was also produced by an “alien”: David Fincher.
In the 1960s, Jewish film makers did everything they could to make white people feel guilty. Just watch films like In the Heat of the Night (1967), by Normal Jewison (who won five Oscars for it), The Cardinal (1963), by Otto Preminger or Wild River by Elia Kazan (1960).
In Betrayed (USA, 1989), Constantin Costa-Gavras denounces the paramilitary militia of the American “Extreme Right”: a beautiful young FBI agent, a woman, is ordered to infiltrate them. The main villain, “Gary”, falls quickly in love with her, and reveals his true nature as a dangerous psychopath with blue eyes. The “Right-Wing” militia groups, we learn, are supported by powerful financiers and major political figures!
Harping on this same ridiculous theme of “Fascism in the Serviceof Big Money” is a characteristic of several other films.
In The Inheritor, by Philippe Labro (France, 1972), the hero (Jean- Paul Belmondo) returns to the USA to inherit an industrial empire. He discovers that his father had been murdered by his father-in-law, the director of an industrial group who is also the financier behind a “neo-Fascist” party. At least that’s what the director – (Jacques Lanzmann) would like to have us to believe…
In A Billion Dollars (France, 1981), a journalist discovers that GT1, a multinational corporation, worked for the Nazis. Since his boss refuses to continue the inquiry, the journalist goes into hiding and article is published by a small local newspaper. The big newspapers, of course, are entirely controlled by “fascists”. The film is by Henri Verneuil (Achod Malakian), who was not a “fascist”… This is what is called “accusatory inversion”, i.e., “Freudian projection”.
Destroy the Local Elites
“Cosmopolitan” propaganda is always aimed at destroying all local elites, whatever and wherever they are: encouraging the workers to revolt against their employers, the peasants against the lords. All authority is discredited, ancestral traditions are bespattered and ridiculed, and the “bourgeoisie” and “aristocrats” are always depicted in the darkest colours.
The Dead Poets Society was filmed in 1990. The film shows us an elite boarding school in the USA, an old and noble institution intended for the sons of high society. A literature professor upsets the lives of the students and dynamites the “dusty old values” of these “narrow- minded Christians”. This film, which invites us to reject traditions and norms, was directed by Peter Weir.
This is also the message of a film called School Ties by Robert Mandel (1992): The main character, “David Greene” joins one of the most prestigious preparatory schools in New England. His athletic and intellectual talents naturally make him the star of the institution in a few weeks. But to be accepted by his wealthy schoolmates, filled with anti-Semitic prejudice, and gain the love of a young girl from a good family, he is compelled to hide his Jewishness… until one day the truth explodes. At this moment, we understand that Christians are truly filthy people.
In the same genre, Marin Karmitz’s film, Blow for Blow (1971) is in the same genre: in a confectionary factory, the workers suffer intolerable and infernal working hours and conditions. A wildcat strike breaks out: the boss, kidnapped, humiliated and intimidated, is forced to capitulate. Like many of his fellow-Jews, Marin Karmitz made the transition from “Far-Left” to “Hard” “Liberal Right” early in the 21st century: the only problem now is how to “consolidate” the “multiracialsociety”.
The aggressiveness of cosmopolitan Jewish directors against the European world finds expression once again in The Servant(1963): a young English aristocrat, full of arrogance, hires a domestic servant in his service. The aristocrat quickly plunges into alcoholism and decadence, while the servant, highly dignified, comes to exercise an increasingly greater domination over his master. This tendency systematically to gravitate towards “invertedvalues” is very typical of the Hebraic mentality. The film is by Joseph Losey, based on a screenplay by Harold Pinter (Nobel Prize for Literature in 2005), who succeeded his fellow-Jew Elfriede Jelink.
The Middle Ages are always depicted in the darkest colours. We are told that the lords were always wicked and cruel: see The War Lord (USA, 1965). In the 11th century, the local lord notices a young peasant girl while out hunting. She is engaged to be married, and just as they are about to celebrate their nuptials, the lord enforces his jus primaenoctis (an invention of French republicans in the 19th century). The film is by Franklin Schaffner.
The producer Rob Cohen manipulates the same story in his way in a “multicultural” sense in the film Medieval (USA, 2009): this is the story of a monk, a knight, a samurai, a Zulu, an Arab, a gypsy and a Viking – all in the Middle Ages! The same contempt for traditional civilization may also be found in amusing cartoons, like Shrek (USA, 2001), set, once again. “Shrek” is a gentle, lovable ogre who lives in a remote forest. He confronts a dreadful dragon and rescues a beautiful princess. The king is a stubborn, ridiculous nabob (which is not in the European tradition at all) who wants to marry the princess, too, but Shrek, who has fallen in love with her, saves her from the coerced match in the cathedral in which the marriage is to be celebrated. The smashing of the stained glass window of the cathedral by the dragon, who forces his way inside, interrupting the forced nuptials, is supposed to be “symbolic”. Directed by Ted Elliott.
The Truman Show (USA, 1998) is a typical film: Truman is a man who is unaware that he only the unsuspecting star of a TV show. His surroundings are nothing but a set. All the people around him are actors, and he is the only one who doesn’t know it. The director’s intention was attack the papier maché society which serves as the stage set for Truman’s life: its hypocrisy, its false happiness. This hypocritical society is a WASP society in which there are no drugs, no delinquency, no porn. In escaping from this world which is “closed,fragile, closed on itself” , Truman experiences the joys of indiscriminate sex, drugs and ethnic chaos. One could hardly expect any different from the director of the Dead Poets Society, Peter Weir.
“Cosmopolitan” film makers do not just attack European culture alone. Wherever Jews settle, they set about to undermine, mock, ridicule and attack all local elites so as to replace them.
Here is a “Tamil” film: A Donkey in the Brahmin Ghetto (India, 1977). A donkey sneaks into a village enclave reserved for the superior caste of Brahmins and is adopted as a mascot. The donkey induces miraculous visions in the priests, and the animal quickly becomes an object of veneration. This sarcastic film is signed “John Abraham”, no doubt a pure-blooded “Tamil”.
Or take a look at Ankur [“The Seedling”] (India, 1974): in an Indian village, a peasant woman, servant to a property owner, is seduced by her patron. The patron commits a number of serious crimes against the peasants with impunity, but revolt is brewing… Shyam Benegal, the director, is, of course, a “Hindu”.
Judaism, we see, is a dissolving force in all nations in which it is introduced. The Jews like to “break down barriers”, “shatter taboos”, as they themselves very often say. Nahum Goldman, the founder of the World Jewish Congress, wrote very explicitly, “This is the way it is:Jews are revolutionaries for other peoples, but not for themselves”.
Anti-Christianity
Jewish worldwide cinema is also characterised by an anti-Christian messages. In television or at the cinema, Christians, and Catholics in particular, are most often depicted as bigots, narrow-minded and intolerant, even rapists and murderers. The Catholic clergy is regularly depicted as a haven for sadists and perverts of all stripes.
In Crimson Rivers (2003), a network of dangerous, terribly well organized, “neo-Nazis” has been detected. They set up their general headquarters in a monastery in Lorraine, linked by underground tunnels to the Maginot Line. The monks, who are fighting for a “White Christian Europe”, are in contact with highly placed European personages undermining the established order: they are everywhere, they own everything, but they are invisible. The film is signed Olivier Dahan.
Jean-Jacques Annaud’s beautiful film, The Name of the Rose(France, 1986), is taken from a novel by the world-famous Italian author Umberto Eco: the film is a crime drama set in a monastery in Northern Italy in the early 14th century. The film is littered with medieval clichés: all the monks, without exception, are abnormal. They grease their palms off the peasants who bring them their miserable harvests, while the peasants live in the filth and garbage tossed to them by the monks. The Catholic Church from top to bottom is just a perversion: the monks keep people in servitude and fear of the Devil, while jealously guarding the marvels contained in their Greek books which threaten to destabilise their power. Of course, it all ends up in torture and the stake. The film was produced with the collaboration of Jacques Le Goff, an historian of the Marxist school. If anyone cares to take a non-Marxist glimpse at the magnificent epoch which was the Middle Ages, one should read the short book by Regine Permond entitled Pour en Finir avec le Moyen Age (“Finishing Off the MiddleAges”), (1977). Let us note that at no time during the entire film is there any question of a rose… The title is obviously intended for initiates in the Kabbala; in this regard, we note that the author of this tale, Umberto Eco, in 2005, also wrote the preface to a book entitled Messianic Mystics, in which he establishes a parallel between Hebraic messianism and Marxism.
Among Jewish American directors, anti-Christian hatred is expressed in the same manner. In Seven (1995), a Catholic sex pervert has undertaken to commit seven murders symbolizing his hatred of the seven capital sins: a film by David Fincher.
In The Shawshank Redemption (1994), the prison warden turns out to be the real villain; at the same time, of course, he is a very pious Christian. The film is signed Frank “Darabont”. In The Favour, the Watch and the Very Big Fish (1991), film maker Ben Lewin displays his disgust with Christianity.
In The Last Temptation of Christ, by Martin Scorsese (1998), Christ begins to dream of what his life could have been like with Mary Magdalene. We see Jesus make love to her. This film is an adaptation of a novel by Niko Kazantzakis.
In Agnes of God, by Norman Jewison (1985), The Verdict, by Sydney Lumet (1982), Papillon, by Franklin Schaffner (1973), ElmerGantry, by Richard Brooks (1960), the Christian characters, priests and nuns, are regularly portrayed as villains.
Jewish film directors also appear to derive pleasure, in their films, from disrupting Catholic ceremonies. In the comedy In and Out (USA, 1997) for example, a marriage ceremony is taking place. At the very moment when they about to say “Yes” before the entire family and assembled congregation, the groom refuses, and announces in a low tone, with an air of resignation, that he is “gay”. Stupefaction. The ceremony breaks up in an uproar, and the couple quarrel violently in public. The film is directed by Frank Oz.
In Shrek (2001), the marriage ceremony is disrupted by a dragon who enters the church by smashing a stained glass window. In SacredUnion, by Alexander Arcady (France, 1989), a funeral is disrupted. In A Very Curious Girl, by Nelly Kaplan (1969), a Mass is disrupted.
The film Hair (USA, 1979) contains a sacrilegious scene set in a church: a group of long-haired hippies, high on acid, transform a marriage ceremony into a Black Mass, complete with ecstatic dances, as if they were all possessed by the Devil. In actual fact, however, these contortions resemble the ceremonies of Hassidic Jews more than anything else. The film director is the “Czech” Milos Forman.
The Blacks Are Going to Save Humanity
Science fiction stories are always an excuse to glorify the unification of humanity and the intermingling of all races. In Independence Day (USA, 1996), by Roland Emmerich, the planet, attacked by extra- terrestrials, is saved by a Black and a Jew.
In The Fifth Element, a film by Luc Besson (1997), the President of the United States is Black. In Deep Impact (USA, 1998), a gigantic asteroid is about to crash into the Earth. The planet is saved in extremis by the American President, who is Black. In Bruce Almighty (USA, 2003), a Black plays the role of God. The film was directed by Tom Shadyac, based on a screenplay by Steve Koren. David Palmer, President of the United States in the TV series 24, is yet again played by a Black actor.
All this propaganda was no doubt intended to pave the way for the forthcoming election, by the American people, in November 2008, of the first Black President of the United States.
The Races Do Not Exist
Now it is much easier to understand why so many “scholars” assure us that “the races do not exist”. The world famous author Primo Levi became the eulogist of race-mixing (for the goyim only, of course). In order to cause the acceptance of the idea more easily, he started with the postulate that we are all racial mixed: “The Indo-European race isnot pure, since nothing proves that it is”.
In February 2001, the Minister of Research, Roger-Gerard Schwartzenberg, stated: “The races do not exist”. The September 2001 of the UNESCOCourier (publication of the United Nations Educational, Scientific and Cultural Organization), contains lengthy claims in this sense: “The human genome has been decoded at last. The endpoint of this project invalidates the myth of races. Genetic researchhas established that we all descend from one same common ancestor,born in Africa.”
The famous geneticist, Axel Kahn, who was one of the organizers of the World Congress “against racial discrimination, xenophobia andintolerance”, held in September 2001 at Durban, South Africa, confirmed: “All men are in fact of a great genetic homogeneity, sincetheir common ancestor is very young in terms of the evolution of life;he lived more than 200,000 years ago in Africa.” You gotta believe it!
Your Lying Eyes
In the film Matrix, by Larry Wachowski (USA, 1999), human beings are entirely controlled by a computer program which dominates all their thoughts and their entire lives. They think that they exist, but in fact they are nothing but the slaves of machines. There remains only one small nest of resistance: Zion! The film is cram-packed with cabbalistic messages: the hero, Neo, is “the Elect”, the mythical liberator of humanity announced by the prophets, who will save “Zion”, as revealed by “The Oracle”. Human beings are depicted in the colours of a multi-racial society, while the “Matrix”, which intends to rule the universe, is represented by white men: three agents, led by one Agent Smith, who are, of course, very wicked, in their suits and ties. Once again, it is the whites who must bear responsibility for the real tyrants, since the matrix “really exists”; it’s the “matrix” that made this film.
Men in Black (USA, 1997) is a film which teaches us to welcome foreigners – all foreigners – even extra-terrestrials. We don’t know it yet, but there are already large numbers of them living among us; they have taken human shape. Members of a special governmental agency are responsible for regulating the flow of this “new kind of immigrant”, and to keep the existence of these extra-terrestrials secret so as to avoid alarming the population. Two super special agents, one Black and one White, are assigned to track down a hostile alien. The film was adapted by Barry Sonnenfeld from a screenplay by Ed Solomon. It was also produced by Steven Spielberg. All these directors and script writers are “extra-terrestrials disguised as human beings” and “agents of theMatrix”.
John Carpenter is the director of They Live (USA, 1988); the hero, Nada, thanks to special eye glasses, discovers that a small proportion of the population are composed of extra-terrestrials who look just like human beings. These aliens form an elite which governs the world through lies and corruption. These special eyeglasses also permit him to read subliminal messages on advertising panels, which order submission of all humans. They are everywhere, they own everything, you just can’t see it!
In Raiders of the Lost Arc (USA, 1980), by Steven Spielberg, we understand that the power of Yahweh is far too tremendous for us even to dream of resisting it.
From Understanding the Jews, Understanding Anti-Semitism
Hervé Ryssen
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