The Destruction of the Traditional Family

 

The Defense of Homosexuality

To Sigmund Freud, the founder of psychoanalysis, bisexuality was inherent in each human being. After him, it was chiefly Jewish intellectuals who have been at the vanguard of the homosexual movement. “Ant-Semites” quite correctly accuse them of contributing to the dissolution of the traditional family, but one must understand that this militant homosexuality is above all a manifestation of one facet of the Jewish identity. The omnipresence of “cosmopolitan” Jewish intellectuals in television, in film, as well as in bookstores and exhibitions is any case the only explanation for the exponential increase in the social and financial power of homosexuals in all “democratic” societies. You can look at the problem from every other possible angle: there is simply no other explanation. Jewish, and often homosexual, film makers have also largely contributed to the acceptance and trivialisation of deviancy.

Bruno (USA, 2009), for example, is an “irritating”, “disturbing” film by Sacha Baron Cohen. It is the fantastic story of an Austrian homosexual journalist who decides to become a “shtar” in Los Angeles…

Spring Fever (China, 2009), a film by the Chinese national Lou Ye, is a “burning film about homosexuality in China”, we are told by the newspaper Le Monde. The film, selected by the Cannes Festival and subsidized by the Region Isle-de-France, was produced by Sylvain Burztejn.

The Comrades (France, 2006), shows a group of friends after the Liberation. They are all communists and members of the Party. Everything is going well, until the homosexuality of one of the “comrades” is discovered by the hierarchy. The declared intention of Sephardic director Francois Luciani was to denounce the intolerance which existed in the Stalinist party at the orders of a USSR which became “reactionary” following the elimination of “cosmopolitan elements”.

Directors like Edouard Molinaro ( Mariage Blanc, La Cage auxFolles), Alain Berliner (see the series Clara Scheller, 2004), Cedric Klapisch ( The Spanish Apartment, also known as Pot Luck 2002), Olivier Dahan, Sebastien Lifshitz, Dominique Baron, Claude Miller, Jean-Jacques Zilbermann and many others, have contributed to the trivialisation of this phenomenon.

Among the films known to the general public, we may cite SoftPedal (1996), by Gabriel Aghion: a film on the world of gay and transvestite clubs. Then again, there is French Twist by Josiane Balasko (1994), the story of a lesbian who insinuates herself into the life of a couple: the husband finishes by agreeing to a menage à trois. “Aprovocative comedy of morals which questions the received notions onlove and sexuality”.

Above all, there are the “American” films: see, for example, Farfrom Heaven (2002): in a bourgeois suburb in the America of the 1950s, a woman discovers “shady areas” in the life of her husband, who turns out to be homosexual. Quite happily, our beautiful American comforts herself with her gardener: a big strong Black who knows how to take care of her – according to the magic formula of, “homosexuality for the white man; race-mixing for the white woman”. The film, by Todd Haynes, was naturally rewarded by four Oscar nominations: “A pure diamond”, according to Les Inrock (Serge Kaganski); “Disturbing, a masterpiece”, exclaimed the magazine Zurban. The director Todd Haynes is, in fact, Jewish through his mother.

American Beauty (1999) is a well-made film, but exceptional for the extent of its perversion: in a neat little suburb of an American city, a couple are quarrelling violently. So the woman has an affair with a real estate promoter. Their new neighbour, a professional soldier with “Extreme Right Wing” views who regularly beats his son with the greatest brutality, discovers his own latent homosexuality. Homosexuality is once again shown with indulgence in the furtive appearance of another neighbourhood couple, who appear to be the only happy couple in the district. The magic formula in this film is: defense of adultery, drugs, homosexuality, paedophile and incestuous ambiguity; and denunciation of the “Extreme Right”: we are certainly dealing with a “cosmopolitan” film. Directed by Sam Mendes, the film naturally won five Oscars. “Ironic, provocative and disturbing”, we read in other reviews.

Jewish intellectuals actually brag about being “irritating”, “provocative” and “disturbing”, but are astonished and become indignant at the persistence of “anti-Semitism”! This, again, is another “paradox”.

In and Out (1997), is a comedy. A university professor, who wishes to disprove the rumour that he is homosexual, decides to get married quickly to his fiancée. And here is the final scene: during the diploma awarding ceremony, students and parents learn with stupefaction that the professor has been fired. They all get up one by one to declare that they are all “gay”. The film is signed Frank Oz. There are many other examples of this genre. As early as 1962, the famous William Wilder outdid himself with the film The Children’s Hour, in which he denounced Puritanism, and posed as an apostle of the “liberation” of morals.

The ambiguity of identity is found, once again, in the film by the director Arthur Penn, Little Big Man (USA, 1970). It is the story of a white man who has been raised among Cheyenne Indians since the age of ten, and who is thrown back and forth, depending on circumstances, between the camp of the wicked White men and that of the loveable, peaceful Indians. A homosexual Indian character, inverted in more ways than one, is also highly symbolic of the ambiguity of identity in Judaism.

Cross-Dressers and Transsexuals

An obsession with cross-dressers and transsexuals may also be noted among “cosmopolitan” film directors.

In Russian Dolls (France, 2005), Cedric Klepisch offers us a sequel to The Spanish Apartment. Once again, the film depicts lesbianism (between white women), with the added touch of race-mixing (white man and black woman), cocaine consumption, and a transvestite scene.

Chouchou (2003), is a film by Algerian-born Merzak Allouache: Chouchou, a young Maghrebin, disembarks illegally at Paris in search of his nephew. The latter has become “Vanessa”, a romantic singer in a cabaret. Chouchou decides to become a transvestite as well, during his free time. The film is the product of the imagination of his script-writer, Gad Elmaleh, who plays the main role, and who is not Algerian.

In this genre, we also have All About My Mother, by Pedro Almodovar (Spain, 1999), a story of transsexuals and transvestites. Almodovar is also pleased to show us a very multicultural Spain, which is, yet again, very typical. The film, produced by Michel Ruben, was made available on DVD by Claude Berri (Langmann).

Almodovar was naturally rewarded by the Cannes Film Festival in 1999 as “The Best Director”. “I dedicate this reward to Spanish democracy. I experienced religious fundamentalism, police brutalityand the hatred of difference”, he explains.

Among famous directors, we must cite Sydney Pollack, with his film Tootsie (USA, 1983): Dorsey, a serious, hard-working comedian, is unemployed. To get a role, he dresses up as a woman and becomes “Tootsie”. As early as 1959, In Some Like it Hot, Billy Wilder told the story of cross-dressers, in an admittedly funny comedy.

Two unemployed jazz musicians, involuntarily mixed up in a feud between gangsters, disguise themselves as female musicians in order to escape. They start out in Florida with a female orchestra, and straight away fall in love with a ravishing woman (Marylene) who wants to marry a billionaire.

Of course, not all films on homosexuality, cross-dressing and trans- sexuals are the work of Jews exclusively. Evening Dress (1986), for example, was directed by Bertrand Blier, who was not a Jew, but was perhaps heavily influenced by his wife (Anouk Grinberg).

Before the Second World War, the precursor of all modern studies of homosexuals and transvestites was the sexologist Magnus Hirschfeld (1868-1935), founder of the first “gay” political movement, in 1897. In 1920, he founded a “sexology institute” in Berlin which acquired an “international reputation”. A homosexual, Jew and socialist, Magnus Hirschfeld was compelled to flee Germany in 1933.

Feminism

The famous feminist Elisabeth Badinter intends to make tabula rasa with the past and destroy the family basis of European civilization: “Rethinking masculinity is an urgent need”, she writes ( XY:OnMasculine Identity, 1992). “The idea is to give birth to a uni-sex humanbeing”. Elisabeth Badinter worships “the clairvoyant discourse of theViennese feminist Rosa Mayreder”, who advocated “the synthesis of themasculine and feminine for individuals liberated from their sexualcharacteristics”. Let us recall that Elisabeth Badinter is the daughter of billionaire advertising king Bleustein-Blanchet (of the Publicis Group, biggest worldwide). Badinter was the wife of the Mitterand’s Minister of Justice.

Once again, this is the egalitarian fanaticism of Judaism: always this same obsession with levelling all differences between human beings. Feminists claim that there are “no differences between the sexes”, just as the Marxists used to assure us that “social classes would be abolished”, and the democracies promised us a “world without borders” which resemble a mixed-race humanity. The objective is always the same: the dissolution of identities, whether sexual, social or national, and the coagulation of the atomic particles so as to unify the world and work for the advent of definitive “peace” on earth, which would be the “peace of Israel”: ( solve et coagula); obviously, everything else must be broken down first before anything can be built up.

In the United States, the four most important figures in radical feminism since World War Two were Jewish women: Betty Friedan, who founded the first large-scale feminist movement in the United States (NOW: National Organization for Women): Bella Abzug, Gloria Steinhem, and Gloria Allred. In France, Jewish women also headed the movement after the war: Anne Tristan (Zelansky) created the association Feminine-Masculine-Future in 1968; Gisele Halimi was also one of the leading figures of militant feminism. Born in Tunisia in 1927, her real name was Zeilza Gisele Elise Taieb. A lawyer, she cut her teeth on Communism, demonstrated for Algerian independence, untiringly denouncing the French army and colonialism. In 1971, she founded the feminist movement with Simone de Beauvoir and militated with Simone Veil for “abortion rights for French women”. She was also one of the founders of the world globalization movement Attac. In 2006, she was promoted to the Légion d’Honneur.

These militants played a primary role in the adoption of measures for the legalization of abortion. In the United States, the great birth control pioneer Margaret Sanger; abortion was legalized in 1973. Then it was Germany’s turn in 1974, followed by France in 1975, under the influence of another Jewish woman: Simone Veil. We should recall here that the “father” of modern divorce laws in France in 1882 was another Jew named Alfred Naquet.

The consequences of all these measures of cultural revolution and subversion upon the European birth rate did not take long to make themselves apparent, all the more so since the limitation of births was further encourage by the invention of the “abortion pill” RU 486. The abortion pill, perfected by Professor Etienne Beaulieu, made billions for the Roussel-Uclaf trust and its “genius” inventor. Was this an accident? Professor “Beaulieu” was also a Jew. Born in Strasbourg on 12 December 1926, he was the son of Leonce Blum, born in Alsace, who was the son of the rabbi Felix Blum. After the Popular Front, the Blum family name was unpopular, so much so that Blum applied to change his name, which was accorded by decree in 1947, after which the family called themselves “Beaulieu”.

The Destruction of All Patriarchy

The destruction of the nuclear family, the basis for traditional European society, is one of the major themes of cosmopolitan thought. “Women’sLiberation”, unrestrained by the restrictions of the patriarchal family, was prepared for long in advance by film. So many films contributed to the “liberation” of European women that it would be impossible to count them all. In Whatever Works (USA, 2009), for example, the director Woody Allen transmogrifies a Christian couple: the wife becomes addicted to sexual orgies, while the husband becomes a blossoming homosexual!

It should be recalled at this point that the pornography industry is very largely the work of Jewish entrepreneurs and “artists”. It would be impossible to provide a summary here, but you may consult the book The Jewish Mafia (2008).After the Second World War, the “Freudian-Marxist” current was at the head of the “liberation of morals” movement and the “sexualrevolution”; essentially, a simple combination of Freud and Marx. Wilhelm Reich, Herbert Marcuse, Erich Fromm, Theodore Wiesenthal Adorno were this movement’s most illustrious representatives; all were Jews. The family, wrote Wilhelm Reich, was an “authoritarian state in miniature”. If one wishes to destroy a nation, one must also, logically, destroy the traditional family, since the authoritarian family is the reproductive cell of reactionary thought, bullying the “individual” through the repression of “infantile sexuality”. “Cosmopolitan” thinkers are literally obsessed by “infantile sexuality”.

Hevre Ryssen

Understanding the Jews, Understanding Anti-Semitismby