Apr 25, 2010




APRIL 2010

By Brave Heart

Many people have wondered why Hollywood has always suffered from an extreme leftist slant. Various explanations have been offered, almost all of them off base. The real reason is as obvious as it is simple – Hollywood is Communist because Hollywood is Jewish. Anyone who offers this explanation shall be met with shrieks of outrage. But the outrage comes from the exposure of the truth. No one can deny that Hollywood is Jewish. It has been so from the earliest days of the industry; it continues to be true today. Jesse Lasky and the Paramount Players, David O. Selznick of "Gone With The Wind" fame, William Fox, Hungarian Jew and head of Fox studios, the Warner Brothers, Jack and Harry, Harry Cohn of Columbia Pictures, Cecil B. DeMille, Barney Balaban of Paramount Studios, Lew Wasserman of Universal, Louis Mayer of MGM, Walter and Harold Mirisch, Spielberg and Katzenberg, Michael Eisner of Disney, the list of alien control of the Hollywood dream factories is almost endless. 

The Jewish control of Soviet Communism in the pre-World War Two days was equally indisputable. Behind Lenin and Stalin stood Kamenev-Rosenfeld, Zinoviev-Radomylsky, Litvinov-Finkelstein, Yagoda-Yehuda and hundreds of others. The Hollywood Jews were, in the main, first and second generation Russian Jews, many of them born into the same towns of the Pale of Settlement as the Soviet commissars. The producers had grown up with the same Marxist ideals as the leading commissars of Joseph Stalin. Thus, the intrusion of Communist propaganda into the movies was a natural for these Jews. Naturally, they had to be subtle about it. The preferred technique was to insert messages of social conscience or to have the little guy stand up to the big guy. After World War Two and the hoax of the "gas chambers", the next technique was to insert racial equality propaganda, the obvious hint being that racial intolerance in America would lead to similar "Holocausts". The late Senator Jack B. Tenney, head of the California State UnAmerican Activities Committee, once said that "if the engraved invitation, the welcoming mat and the open door were the attributes of infiltration, then it could be said that Hollywood had been infiltrated by the Communists." 

Everyone has heard of the Hollywood Ten, those poor, innocent screenwriters whose careers were wrecked by the Grand Inquisitors in Congress. Six of the Ten were Jewish. John Howard Lawson, Herbert Bieberman, Lester Cole, Albert Maltz, Ring Lardner, Jr. and one other. These writers poured Communist propaganda into their scripts in the manner earlier described. A few of their films were Maltz's "The Robe", Lawson's World War Two epic "Sahara", Trumbo's "Twenty Seconds Over Tokyo" and many others. But Communism had flourished in movie land long before the Ten were summoned to testify. Sidney Buchman, a favorite screenwriter under Harry Cohn at Columbia, had been a former member of the Communist Party. He scripted the Jimmy Stewart classic, "Mr. Smith Goes To Washington" directed by Frank Capra. Everyone has heard of the famous film, "Casablanca". It was directed by Michael Curtiz. Very few knew that it was Curtiz who directed the forgotten film, "Mission To Moscow" glorifying Joseph Stalin as a wonderful, kindly man, the "Daddy of All the Russians". "Mission To Moscow" was scripted by a Jew named Koch. Jack Warner of Warner brothers produced the film. When the film later became an embarrassment, Warner tried to pretend that he had little to do with it, although the since disclosed record tells a different story. 

Hollywood's extreme leftist bent has continued right on course since World War Two days. Two of the more famous films of British director David Lean were "Bridge on the River Kwai" and "Lawrence of Arabia". The first was scripted by Communist screenwriter Michael Wilson; the latter was scripted by Communist screenwriter Robert Bolt. In the first film British POW's are perversely shown enthusiastically building a bridge for their Japanese captors. In the second, verifiable British double dealing in Arabia during the First World War is shown to discredit white colonialism. Jewish Communist directors like Carl Foreman made films like "The Victors" to attack war, and especially war with the Soviet Union. The final scene of this World War Two epic has a Russian soldier, played by Albert Finney, stabbing to death an American soldier in a bar fight in post-war Berlin. The message is unmistakable – American-Soviet enmity can only end in disaster for both parties. Everyone has heard of the movie "Spartacus". It was written by the Communist screenwriters, Dalton Trumbo and the Jew, Howard Fast.  The proletariat, personified by the slaves, battle the nasty Nazis of the ancient world, personified by the Romans. The implied message is extremely blatant. There is also the famous bath scene between Crassus and his slave, Antoninus, where the former asks the latter whether he prefers one fruit to another, or does he perhaps like both? After Antoninus flees, Crassus launches a soliloquy on how slaves must abase themselves before Rome, to bow down to her, to "love her". The implied references to homosexual behavior were noted at the time. 

It would be idle to multiply additional examples of Hollywood and TV industry leftism. It would be easy to mention the 1950's TV show, "You Are There", written by three Jewish Communists, Walter Bernstein, Walter Manoff and Abraham Polonsky. Or one could talk about the 1970's smash hit, "M.A.S.H.", written by Ring Lardner, Jr., son of the Hollywood Ten Jewish Communist. Then again, one could recall the TV series "Archie Bunker" and "Mary Hartmann, Mary Hartmann"produced by the extreme Jewish leftist, Norman Lear. The idea was to portray the white male working class as composed of bigoted morons and to reverse gender roles. It would shock most people to realize that the famous Abbott and Costello comedies were written by two card carrying Communists, Frank Rinaldo and Robert Lees. And let us not tarnish Natalie Wood's reputation by pointing out that her most famous film, "West Side Story", was scripted by a Jew who always traveled in the Communist orbit, Arthur Laurents, and directed by another "former" Jewish Communist, Jerome Robbins. 

Many white Americans know, intuitively or otherwise, that their values and their way of life are under attack by the Hollywood film colony. What they do not know is why. It is time to make the explanation explicit. Hollywood is a Jewish assault on white America. Hollywood is the Jewish poison which has corrupted the American mind. If America is to recover Hollywood must go. That means that no Jew must ever again be allowed to peer behind a lens and impose his view of the world on a white society.



Michael Santomauro
Editorial Director
Call anytime: 917-974-6367

Amazon's: DEBATING THE HOLOCAUST: A New Look At Both Sides by Thomas Dalton

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1 comment:

Jody Goar said...

Nice job on an insightful article.