Cinema without Borders – How Cinema Influences Society. Hervé Ryssen
Translated by Jim Warburton
See also the documentary « SATAN IN HOLLYWOOD »
Quentin Tarantino is an important cosmopolitan film director. He is a campaigner for intermarriage on a planetary scale. In Pulp Fiction (USA, 1993), we see two professional killers – a black man and white man – go about their daily work. The gang leader is black; his wife, a cocaine addict, is a white woman.
In Jackie Brown (USA, 1997), the main character is a black arms dealer whose wife is, once again, a little blonde drugged out of her mind.
In Reservoir Dogs (USA, 1992), the characters are all mad dogs who kill each other in a spectacular bloodbath. They are all white and fairly psychotic.
Tarantino is also the producer of the “splatter film”, Hostel (USA, 2005), directed by Eli Roth. The film is about two American students on holiday in Eastern Europe. In Slovakia, they endure a total nightmare. Kidnapped by two sadistic men, they are horrifically tortured in a deserted factory, which has been converted into an enormous abattoir for human meat. Here they are tortured at every level: with scissors, with pincers, with a chainsaw! Sickos from the West are prepared to pay a high price for this pleasure, and these horrible Slovakians give them exactly what they want. Luckily, they will be stoned to death by gypsy children, who, unlike the Slovakians, deserve respect. The director, Eli Roth, clearly doesn’t like Slovakians very much. A bad memory, perhaps…
In 2009, Tarantino made Inglourious Basterds. In war-time Germany, a Jewish commando squadron mercilessly murders Germans with baseball bats and knives. At the end of the film, during a film-screening, the beautiful blonde falls into the arms of the projectionist, a black man (it’s an obsession). Tarantino’s film gives a small taste of what happened in the prison camps at the end of the war. Let’s just remember that hundreds of thousands of prisoners never came back from the Allied camps.
Mathieu Kassovitz directed the film Métisse (France, 1993). Lola is a West-Indian woman of mixed race. She has two lovers: one is a white, Jewish rap musician; the other is a black law student, the son of a diplomat. One day she brings them together to tell them both that she is pregnant. At first, it’s war between the two men. But the racism between the two men is harmless enough and, soon, all three will live together: the Jew, the black Muslim, and the Christian woman of mixed race.
In La Haine (France, 1995), Kassovitz adopts the role of spokesman for a fringe group of law-averse immigrants who give vent to their hatred of society. This rage is expressed by the three characters: an Arab, a Jew, and a black man. We can again see that inclination to place Jews in the same category as the poorest members of society. Black people and Arabs come to embody a new type of heroic rebel, but one which has the support of the big film production companies.
Cauchemar blanc (France, 1991) is a short film which shows four racist white men attacking a defenceless Arab in a working-class suburb. This film is a plea for tolerance.
In 2000, Kassovitz releases The Crimson Rivers. In the Alpine glaciers, a number of horrifically mutilated bodies are found with their eyes gouged out and their hands cut off. The detectives follow a lead to the local university, which turns out to be a breeding ground for dangerous neo-Nazis. The script is scarcely credible but does confirm the obsessions of the director, who is clearly neither a “neo-Nazi” nor a “black Muslim”.
In Crimson Rivers II (2003), Olivier Dahan remains faithful to the plot, in so far as the bodies found by the detectives testify to murders as equally gruesome as those committed in the first episode.
Here, again, we are dealing with a network of dangerous neo-Nazis, who turn out to be frighteningly well-organised and whose headquarters are based in a monastery in Lorraine, linked to the Maginot Line by underground tunnels. The monks are fighting for a “White and Christian Europe” and have contacts with high-ranking European officials who, like the monks, work secretly: they are everywhere, they control everything, you see nothing!
Olivier Dahan is an advocate of tolerance, but it’s clear that he is not very Catholic in his political convictions. In 2009 and 2010, he directed Mozart 1, an opera-rock show, produced by Dov Attia and Albert Cohen.
The world-famous Costa-Gavras directed Betrayed (USA, 1988). FBI agents are investigating far-right militias from the Mid-West, and a beautiful young woman has the job of infiltrating the group. Gary, their leader, falls in love with her. He betrays his psychopathic tendencies. He pleads her to come hunting with him and his friends. It is a very particular type of hunting because the aim is to track down a defenceless, young black man, released into the forest at night. The man will be slaughtered before the very eyes of the young woman, who is as sickened as the viewer.
A paramilitary camp reveals the full extent of the group: these dangerous Nazis possess sophisticated weapons and are very determined. They’ll all be arrested in the end. But the battle against this mafia-like organisation is far from finished, for we learn that these networks are supported by highly influential figures and prominent politicians, who keep their cards close to their chest and take action in secret. They are everywhere, they control everything, you see nothing!
Costa-Gavras also directed Amen (USA, 2002). The actor Mathieu Kassovitz plays the role of a young Jesuit who, during the Second World War, attempts to awaken the Vatican from its slumber and persuade Pope Pius XII to publically condemn Nazi brutality. The film poster depicts a swastika and a crucifix entwined. Historical truth has no place in this film. The most important point is that the viewer understands who the bastards are.
In Music Box (USA, 1989), Costa-Gavras uses the character of Michael Laszlo, a Hungarian refugee living in the United States, to touch upon the atrocities of the Second World War. One day, Laszlo is accused of war crimes. The witness statements, in fact, had remained hidden away in UN archives for forty years. His daughter, a lawyer, doesn’t believe in these dreadful tales for one second, and decides to defend her poor father in court. But, slowly, she starts to have doubts about what her father did during the war. As witnesses have identified him and accuse him of terrible things, she exclaims: “When I think about all that, I am ashamed to be Hungarian, Dad.” (Guilt is one of the main themes of cosmopolitan propaganda.)
The trial finally begins and the witnesses for the prosecution line up to describe the atrocities, each more horrific than the next, committed by the Hungarian fascists: “Michka was the worst. He liked killing Jews. He would look for the gold and the silver…the beautiful blue Danube ran red. It’s him, I recognise him.” His daughter, however, manages to get him off the hook by proving that the witnesses had dubious links with Communist governments and the KGB.
It’s only much later, when she’s in Budapest to question a witness, that she discovers in a music box some photos which incriminate her own father. This time, his guilt is beyond doubt: “I don’t want to ever see you again, Dad. I don’t want my son to ever see you again”. We should note that Costa-Gavras took care to include images and music from Hungarian folklore throughout the film, probably in order to better put the spectator off the country.
Eden is West (France, 2009) is another cosmopolitan film. It is an ode to open borders and tolerance: we must welcome the foreigner in our country. Costa-Gavras, who is obviously neither Catholic nor Hungarian, is an advocate of universal tolerance. We impatiently await his film on the situation in Israel.
Seven (1996) is the story of a serial killer who commits appalling murders. The murderer turns out to be a psychopathic Christian, who has set about carrying out seven murders to symbolise his hatred of the seven deadly sins.
In Panic Room (USA, 2001), a wealthy young woman (Jodie Foster) and her daughter both move into a huge house in the middle of Manhattan. The residence is equipped with a panic room in order to survive an external attack. One night, three burglars break into the house. This marks the beginning of a terrifying experience which will end badly, because the loot they’re looking for is stashed in the very room in which the two women, being completely unaware of what their attackers want, have sought refuge.
Among the burglars, the big black guy is the only one who has any brains. Besides, he was the one who designed the panic room. He is the technician and also the most humane of the three crooks, because, from the beginning, he refuses any form of violence. On the other hand, the leader is a white man, highly-strung and unpredictable, who ends up with a bullet in the brain while trying to get away. The third member, also a white man, is very calm and turns out to be a dangerous psychopath. At the end of the film, this maniac prepares to kill the young woman by hitting her in the face with a sledgehammer. Fortunately, the black man intervenes just in time. He’s also the one who gives an injection to the little girl in pain, saving her from certain death. White men are the bad guys here, whereas the black man is highly humane.
Alien 3 (USA, 1992) is a science fiction film. Lieutenant Ripley’s gets stranded on a planet where the “company” has left nothing but a prison for dangerous criminals: killers, rapists, and psychopaths. Not particularly pleasant for the young woman, especially as she begins to realise that an alien was aboard her vessel. The prison chief is something of a bigoted fascist who refuses to listen to her about the alien. Happily, he will be devoured at the beginning of the film.
As for the prisoners, they adhere to a very strict religious regime, a mixture of “Christian fundamentalism tinged with apocalyptic millennialism”. They are dressed as monks and give a Roman salute at the end of their leader speeches. They are also dangerous psychos and it would be best for her to keep out of their way, especially as it’s been a very long time since they last saw a woman. The bastards who try to rape her are all nasty white men, whereas the man who saves her is a well-built black man who holds sway over the others. Obviously, he is the only one to be relatively stable: he’s the leader! He will sacrifice his own life to save Ripley and catch the alien. The film confirms David Fincher’s obsessions.
The American director Richard Donner also has the same aims. Take Ladyhawke (USA, 1985). During the 13th century, a young thief on the run is saved by a knight, Navarre. He is in love with Isabeau. But an evil bishop, Aquila, has cursed the couple. The bishop will be killed in the end.
In Lethal Weapon (USA, 1987) Donner condemns the drugs trade. Two cops – one is white, the other is black – are given the task of arresting these bastards, who will torture our two heroes in the basement of their nightclub. In this film, the drug smuggling owners of night clubs are all Vietnam veterans with blonde hair and blue eyes.
Lethal Weapon 2 (USA, 1989) is even more ridiculous. The two cops, who represent the triumphant multicultural society, are confronted by a formidable gang of South African drug dealers. These bastards are all white and, once again of Nordic appearance, not to say entirely blonde and horrendously racist. This is what’s known as “accusatory inversion” (a process by which guilt is projected onto the innocent party), an essential concept for understanding the cosmopolitan mind.
In Lethal Weapon 4 (USA, 1998), our two super cops have discovered a Chinese immigrant smuggling ring. Four hundred poor wretches were all crammed together in a ship’s hold. The two cops will soon find the mafia chief who brings thousands of illegal Chinese immigrants into the United States. The illegal immigrants work for many years to pay for the journey and their false papers. It’s a formidable criminal organisation which also manufactures counterfeit money.
Richard Donner (whose real name at birth was Schwartzberg) has given us here a film which is undeniably impressive and funny. It’s also one of the most racist films in existence. As far as we know, the only other community to have been portrayed in such an offensive way by cosmopolitan film-makers is the white community. This treatment is probably due to the fact that, from a business point of view, the Chinese community is only the one to drive back the Jewish community.
Love Field (USA, 1993) is a landmark film. The film is set in the United States in 1963, and President Kennedy has just been assassinated. Deeply moved, Lurene, a beautiful blonde (Michelle Pfeiffer) decides to go to Washington for the funeral in spite of her husband, who plays the role of the idiot. In the coach, she meets a black man and his little girl. But he remains cold and distant. The behaviour of this “coloured man” seems suspicious and the child appears to have been kidnapped. When the coach stops, she decides to call the police before realising her mistake: the child is indeed his daughter, and the man has taken her away from a dreadful orphanage, where she went into care following the death of her mother.
Having fallen under the charm of the child, the beautiful blonde decides not to abandon them and runs away with them. The police are now on their trail, convinced that this Afro-American has kidnapped both a child and a young blonde woman who was about to report him to the police.
The racist scene is a little slow in coming, but it finally arrives as planned: when the stolen car breaks down, our black man gets a good beating on a country road by three nasty white bastards. The beautiful blonde then takes care of him in a barn and offers herself to him. There’s no going back now.
Her husband, enraged with jealously, waits for her in a motel, where the two men have a fight. The black man, easygoing and nice, gets the better of the white man who is uptight, small-minded and “conservative”. This headlong rush can’t last forever, and everything goes back to normal after the arrests. The pretty blonde will divorce her husband and goes to live with the black man. This wonderful film was directed by Jonathan Kaplan. This director, who hesitated between following a career as film-maker or as a rabbi, has given us here a masterpiece of anti-racism.
Unlawful Entry (USA, 1992) has a very surprising opening scene: a burglar who has broken into the house at night is caught in the act by a young couple. The man manages to escape by threatening the young woman with a large kitchen knife. The attacker is black and the victims are white, a situation which is unacceptable in the world of cinema. We assume that the director will not leave things there. Indeed, in the following scene, we see there are also nice blacks, because one of the cops who reassures our lovely couple is a coloured gentleman.
His colleague – a white man (Ray Liotta) – is also very nice and reassuring. But he is just pretending! For, in truth, he is a dangerous psychopath, who, enamoured with the young woman, will make her husband’s life hell. He even goes so far as to kill his black colleague at the same time as a young drug dealer, and then passes this off as a shootout between the two men, which doesn’t stop him from crying over the death of his friend in front of the TV cameras. Anyway, the fact that a black man assaulted a woman with a knife is forgotten by the end of the film, and it’s once again the man with blue eyes who plays the role of the psychopath.
In 1997, Guédiguian releases Marius et Jeannette (France, 1997). Jeannette lives alone in Marseille with her two children, both of whom have different fathers. The oldest daughter was left with her when some bastard left her: an arsehole of a white man. As for her twelve year old son, he is half African and is very good at school. His father, whom she misses because he was so nice, unfortunately died in an accident on a building site. Jeannette meets Marius, a big and brooding fellow, who works as a security guard in a disused factory. All the characters in the film are good, humble people, who do not hide their Communist sympathies. Naturally, the actress won the César Award in 1998.
In La ville est tranquille (France, 2001), the destinies of several of the characters are intertwined. Michèle, who works at the port of Marseille on the fish market, is married to an unemployed alcoholic. When she’s finished her punishing shift, she then has to look after the baby of her daughter, a drug addicted teenager who works as a prostitute to pay for her shots of heroine. A singing teacher, Viviane, middle-aged and middle-class, is disgusted by the cynicism of her husband. She falls in love with one her former pupils, the young Abdermane.
In A la place du cœur (France, 1998), Clémentine and François, known as Bébé, want to get married. Clémentin is white, and Bébé is black. But Bébé, wrongly accused by a racist cop of having raped a Bosnian woman, is in prison. The film sees everything in black and white. We have the good guys on the one side, and the bad guys on the other; the hysterical Catholic, the fascist cop. Again, we see here that Robert Guédiguian considers intermarriage to be a fundamental value, or at least he does when it doesn’t concern people from his own community: this message, indeed, is exclusively for export purposes.
In Mariage blanc (France, 2005), Edouard Molinaro tells the story of René, a somewhat simple-minded Frenchman who finally finds the love of his life through the charity group Afrique-Amitié. François Etchegaray, who helps the socially excluded, sees that René is being conned by the African woman, who just wants to get married to stay in the country, and this is all the more obvious since the charity Afrique-Amitié have asked him to pay a large sum of money.
At the beginning of the film, the viewer can see the generous François kindly attending to an old homosexual couple who, somewhat bitter, are concerned about their inheritance tax. The promotion of intermarriage and homosexuality: here we have the cosmopolitan trade-mark.
Molinaro also directed the entertaining comedy La cage aux folles (France, 1978), the main characters of which are homosexuals and transvestites.
In L’amour en douce (France, 1984), he works at the destruction of the patriarchal family. Marc, a young lawyer, abandons his wife for easy women. His wife finds a lover, a fan of weight-training, while Marc is seduced by a call-girl. Molinaro is an advocate of tolerance and the multicultural society.
In Les Cœurs des hommes (France, 2004), an air ambulance from Congo is flying to Paris. On board, there are children who need operations. A team of French doctors fall for the charm of these adorable kids who are the future of France.
In Itinéraire d’un enfant gâté (France, 1988), Claude Lelouch tells the story of a man (Jean-Paul Belmondo) who suddenly abandons his family to live in Africa. He comes back, two years later, to resume the running of his business. Here, again, we realise that marriage between white women and black men is an absolute obsession.
In Smic, Smac, Smoc (France, 1971), Amidou, who works at the shipyard in Ciotat, marries a kind white woman, Catherine, who works as a baker.
Partir, revenir (France, 1985) is a film which nurtures guilt among the goyim. When his first book is published, Salomé Lemer remembers…During the last war, his Jewish parents sought refuge in Burgundy, and lived with their friends, Hélène and Roland Rivière. But, in an anonymous letter, somebody had reported them to the Gestapo. They were deported and died in a concentration camp, together with their son, Salomon, a great pianist. Salomé was the only one who survived in the family. Roland Rivière investigates and discovers that the letter was written by his own wife, Hélène. Overwhelmed with guilt, she ends up committing suicide.
We again find the same themes in the work of Gérard Oury. In Vanille-fraise (France, 1989), two secret agents have a mission to blow up a cargo ship loaded with missiles. He is black, an expert in explosives (and he’s really nice): codename Vanilla. She is white, a military scuba-diver; codename Strawberry.
In L’As des as (France, 1982), the Nazis are made to look ridiculous by Jean-Paul Belmondo, boxing coach for the French team at the Berlin Olympic Games.
In 1987, Gérard Oury releases Lévy et Goliath (France, 1987). Moses Lévy, a Hassidic Jew and Antwerp diamond merchant (Richard Anconina), has fallen out with his brother Albert (Michel Boujena), a Paris cafe owner, ever since he married a goy. Moses takes the train for Paris to deliver some diamond powder, but unwittingly gets himself tangled up in a cocaine case. Moses will be saved by an inspector posing as a transvestite. As usual, the drug dealers and pimps have blonde hair and blue eyes. They are very nasty and very anti-Semitic, while the Jews are always very likeable and endearing (a classic case of accusatory inversion). Naturally, Gérard Ory took care to show us a very multicultural France.
In Les aventures de Rabbi Jacob (France, 1973), a rabbi from New York flies to Paris. Meanwhile, in France, Mr Pivert is telling his chauffer to hurry so that he will be in time for his daughter’s wedding. At the same time, two Arab hit-men have a mission to kill a revolutionary leader, Slimane. There’s continuous toing and froing, but everything works out, and Slimane will marry Pivert’s daughter. Glorification of intermarriage, condemnation of Islam and the Nazis, transvestite characters, etc. Gérard Oury is a true cosmopolitan film director.
In 2004, Bernard Stora directs a TV film, entitled Une autre vie. Ismaël Traoré, a young man from Mali, has come to study medicine in Marseille, much to the despair of his uncle who had arranged for him to be married. At the hospital, he meets Marta, a pretty white woman, and abandons his young African wife. But, in the novel, written by Emmanuel Roblès, the doctor was in fact white. Stora replaced him with a black man to raise awareness of this issue.
The glorification of intermarriage is also confirmed in the film Un Dérangement considérable (France, 1999). Since childhood, Laurent Mahaut devotes his energy to making his dream come true: become a footballer. His two half-brothers are called Djamel and Nassim.
Bernard Stora blows up the patriarchal family in Consentement mutual (France, 1994). A couple have agreed to divorce. Jeanne gets to keep the little girl. The father does all he can to undermine Jeanne.
Les Camarades (France, 2006) shows a group of friends after the liberation of France from Nazi occupation. All are members of the Communist Party. Everything goes well until the day when the party chief discovers that one of the “comrades” is a homosexual. François Luciani means to condemn the intolerance prevalent in a Stalinist party, controlled by the USSR, which had become reactionary following the removal of certain “cosmopolitan” figures.
In L’Homme qui venait d’ailleurs (France, 2004), François Luciani tells the story of Pierre, a West Indian doctor, who takes over his colleague’s surgery in Charente. It’s 1893, and nobody has seen a coloured man before. Needless to say, our doctor is extremely nice. He is liberal, tall, generous, and he is full of wisdom and kindness. By way of contrast, François Luciani shows the whites as being suspicious, uncultured, and nowhere near in the same league as our doctor.
One day, a travelling zoo comes to town, and the doctor sees some of his fellow brothers locked in a cage, attached to which is the sign “Cannibals”. The whites, of course, giggle, stupidly and nastily. He suddenly gets angry, but his bad temper doesn’t last long, because he has a big heart. And the prettiest woman in the village already seems to be smitten with him.
In another scene, the doctor’s maid reveals that the factory foreman has the nasty habit of seducing the female workers, who are obliged to leave when they get pregnant. “They’re not exactly full of mercy, that lot who go to Sunday mass”, she exclaims. Catholicism is the religion of bastards and hypocrites: here we have the cosmopolitan trademark. François Luciani comes from an Algerian Sephardic family. Here he has made a great film against intolerance.
In Le Coup de Sirocco (France, 1979), Alexandre Arcady, claims to show the plight of French Algerians, whereas in fact his film is merely a celebration of the Israelite community.
In Union sacrée (France, 1989) he advocates tolerance, intermarriage, the multi-cultural society, while condemning Islam in a grotesque fashion. Two cops are obliged to work as a team to investigate an Islamist group, financed by various forms of illegal trade. The Jew, Simon Atlan (Patrick Bruel), and the Arab, Karim Hamida (Richard Berry), heartily detest each other. And, yet, faced with the intolerance and the fanaticism of the evil Islamists, they will gradually become friends. In this film, the Jew is slightly crazy and likeable, while the Arab is serious and efficient.
The chief, played by Bruno Kremer, doesn’t mince his words when talking to his men: “You must act like crusaders, charged with the defence of the Western world! With those bastards, it’s no holds barred!” What we have to understand here is that, against the evil Islamists who threaten our democracy, it is once again the native-born French who must go to the front and lay down their lives.
The Islamists are depicted as ferocious savages. Outside a cafe, one of them exclaims “We are going to make life in this country a nightmare. Today we hit here, tomorrow we hit there. Innocent lives count for nothing.”
Simon is separated from Lisa, his wife. She is a goy, a very pretty little French woman, who couldn’t stand living with Simon, who is too childish. What’s more, as she explains to Karim, her mother-in-law had their son circumcised, whereas she had never insisted for him to be christened. Lisa, who has left Simon, will fall under the charm of Karim. That’s what they’re like, these little French women. In this duel for the white woman, the Jew and the Arab will compete with panache.
The headquarters of the Islamist mafia has been identified by our two super cops. It’s disguised as a cultural centre. Inside, we see two psychopaths torturing a poor Kabyl by forcing a funnel in his mouth and pouring two bottles of whisky down his throat. When our cop Karim is face to face with the group’s leader, a certain Rafjani, he yells in his face “I am ashamed to belong to the same race as you!” In cosmopolitan films, there is often the desire to make others feel guilty or to get them to kill each other.
Rafjani, who will be deported from the country, is truly hateful: “I’ll have my revenge, even if I have to destroy the whole of Paris. Allahu Akbar!” The Islamists are serious about wasting these two overly conscientious cops.
We then have a classic scene from French cinema. The kosher restaurant, owned by Simon’s mother, is machine gunned in broad daylight, Chicago-style! Seriously injured, Lisa will die in hospital. During the funeral, Simon, full of rage and burning with the desire for vengeance, can no longer take it and leaves the church all of a sudden. The Catholic ceremony is interrupted (it’s another cosmopolitan obsession) and Simon runs off. The following scene shows Simon, complete with prayer shawl and skull cap, praying at the synagogue.
The Islamist diplomat is finally deported, without Simon having his revenge. In front of the TV cameras, the devious Rafjani again tries to portray himself as a victim, complaining that he had been treated harshly by “the homeland of Voltaire and Anatole France” (these Islamists are extremely treacherous). Luckily, not everything ends well for this bastard, because we see his car explode, with an illuminated Eiffel Tower providing the background. The film ends here. The faces of the Jew and the Arab then appear, looking into the distance like the statues of two Soviet workers. Anyway, it’s a cinema masterpiece. It’s got Alexandre Arady written all over it.
In 2005, Claude Berri releases L’un reste, l’autre part (France, 2005). Two long-standing friends in their fifties, Daniel and Alain, both married for some fifteen years, find love. For Daniel, it’s Judith (they marry within the community). Alain, on the other hand, meets Farida, a young Senegalese woman, whom he hired as a sales assistant in his African art boutique. The glorification of intermarriage is a constant theme in cosmopolitan cinema, but it is a message to be exported to other communities only.
In Je vous aime (France, 1980), Claude Berri destroys the patriarchal family. Alice has just broken up with Claude. She remembers the New Year’s Eve party when she brought together all the men she had once loved.
Sex Shop (France, 1972) is the story of a broke bookshop owner who turns his business into a sex shop. In one scene, a customer explains to him (us) the benefits of cruelty, homosexuality, sadomasochism and necrophilia. The dialogue explicitly encourages sex with girls as young as 12 years old. There is also the glorification of wife-swapping, adultery and feminism. Claude Langmann, known as Claude Berri, couldn’t restrain himself from showing us a mixed race couple: a blonde woman and a black man. The destruction of the goyim through intermarriage is an absolute obsession with them.
Lucie Aubrac (France, 1997) is a film in honour of the Jewish couple Lucie and Raymond “Aubrac”, who were both members of the French Resistance. Here the Germans are excessively cruel.
Le Vieil homme et l’enfant (France, 1966) is a famous film. During the Occupation, a child is sent away to the countryside to live with an old couple. Pépé, the old man, is a supporter of Pétain and anti-Semitic. He grows fond of the child, unaware that he is Jewish. When the war ends, the child leaves and the old man is none the wiser. The viewer isn’t either.
The American TV series Cold Case illustrates very well the cosmopolitan mentality. An example is the episode in which, twenty years previously, a black girl was raped and then killed. The killer is finally identified: he is black and a priest.
In another episode, a child’s body is found. The investigation reveals that he was an orphan and had been abducted by nuns. Naturally, they are nasty and subject the children to corporal punishment.
A third episode again tells the story of a child found dead. The investigation leads to three young black men, but the key suspect manages to escape. Twenty years later, the case is re-opened and this time the investigation leads to three characters, each more horrible than the next. First, there is the priest who, of course, is a paedophile – typical accusatory inversion (indeed, there are infinitely more paedophile rabbis than priests, but this news can only be found on the internet. For more information, refer to the chapters on the psychoanalysis of Judaism in Hervé Ryssen’s books). The second suspect is the child’s own mother, an average American woman who is not able to cope with her family responsibilities.
Finally, we discover that the true culprit is the local shopkeeper. It was in fact him who had made the vile accusations against the black teenagers. This lowlife is a despicable white racist, who sought to increase police presence in the neighbourhood to boost property prices. Those people will do anything to make money! (Another case of accusatory inversion.)
A fourth episode is set in the 1970s. It shows group of likeable revolutionary hippies. Their leader is a black man. He is cool, a great guy, and his girlfriend is a pretty blonde. She will be killed by some white bastard, who turns out to be working as an FBI informer.
In another episode, the hero is called Ben. He is a good-looking guy, a lady-killer, a disco king, and all the girls are in love with him. His success sparks jealousy and hatred among the petty goys, who are also dreadfully anti-Semitic, probably: for Ben is Jewish, and he is murdered purely and simply because he is Jewish. Luckily, justice will be done. A moving final scene shows the Jewish family crying over yet another victim of hatred. The producer of this series is Jerry Bruckheimer, an Ashkenazi Jew, who is a leading film director in the United States.
Joel and Ethan Cohen
The Cohen brothers are known to be consummate film directors, and their work generally bears the cosmopolitan hallmark. Take Barton Fink (USA, 1991), set in 1941. Barton Fink is a young playwright who is suddenly successful. In no time at all, he has become a Broadway favourite. He then leaves for Los Angeles where he meets a flamboyant producer, who asks him to write film scripts.
Next we see Barton Fink in front of his typewriter. The problem is that somebody in the room adjacent is being noisy and is stopping him from working. He suddenly barges into his world. He is rough, red-faced and alcoholic: he is a goy! And yet, Barton Fink, the sensitive and shy intellectual, will begin to grow fond of this unaffected and uncompromising individual. In fact, he turns out to be a dangerous psychopath, who has the habit of decapitating his victims. He’s also a Nazi. “Heil Hitler!” he cries out before shooting dead two cops in a hotel engulfed in flames. The film won a Golden Palm at the 1991 Cannes film festival.
In O’Brother, Where Art Thou? (USA, 2000) three loveable rogues manage to escape from a US penitentiary. The beginning of the film appears to pay homage to the culture of the American Deep South, the escape scene of the three fugitives being set against a background of country music. But, after a while, the usual anti-racist message soon makes its way into the film: the white politicians appear to be vicious, racist, unscrupulous schemers. The political message here is skilfully portrayed by a country music quartet, formed by our three accomplices and a black man playing guitar. It has to be said that their music is really catchy.
In The Big Lebowski (USA, 1998) the millionaire is played by a fat goy, who is handicapped and nasty. There’s also the character called Jesus, the bowling fan, who provokes our two leading characters. In one scene, the “Duke” informs his accomplice that this “Jesus” is a sexual pervert, a connoisseur of small children. Of course, what we have here is a “projection”, or the very typical “accusatory inversion”. In real life, it’s the Roman Polanskis, the Michel Polacs and the Cohn-Bendits of this world who are the paedophiles. Every year, dozens of rabbis are charged, but those who control the media project their guilt on to the Catholic Church and accuse their adversaries of the very thing which makes them feel guilty.
In My Beautiful Laundrette (Great Britain, 1990), Omar, a young Pakistani, is entrusted by his uncle with a run-down laundrette in an underprivileged part of London. As he is very enterprising, he renovates it and turns it into a successful business, employing an old friend, a homosexual and yobbish punk who will also become his lover. The punk’s friends are appalled at the idea that he should work for “Pakis”. They are clearly very racist and lazy. So, as we can see, it’s lucky that the enterprising Pakistanis are there to keep the British economy turning and to have children with British women. Glorification of intermarriage and homosexuality, condemnation of racism: the film won a César Award for the best foreign film, despite being fantastically dull.
In Liam (Great Britain, 2000), the story takes place in 1930s Liverpool. Liam is seven years old and his sister works as a servant for a rich Jewish family. The poor Jews are targeted by bastards from the extreme right, and we see that the influence of Christianity doesn’t help things.
The Dead Poets Society (USA, 1990) takes place in an elite American boarding school, an old and noble institution for the sons of the upper classes. An English teacher will radically change the pupils’ lives and will demolish the stuffy, old values of these uptight Christians. This revolutionary film urges us to reject traditions and standards.
The Last Wave (Great Britain, 1977) is a film on the Australian Aborigines. One of them is accused of murder. The main aim of the film is to arouse a feeling of guilt among Anglo-Saxons who, naturally, play the role of the bastards.
The Truman Show (USA, 1998) is another piece of propaganda. Truman is unaware that his whole life is a TV show. His entire surroundings are a studio set. All the people he knows are actors, and he is the only one who doesn’t know it. The director wanted to condemn the cardboard cut-out society which forms the backdrop to Truman’s life, its hypocrisy, its phoney happiness. This hypocritical society is a WASP society where there are no drugs, no crime, and no pornographic films. By escaping this world, which is “closed, conservative, and inward looking”, as the cosmopolitan intellectuals often put it, Truman will be able to enjoy the world of sex, drugs and ethnic chaos.
Stanley Kramer’s film, Guess Who’s Coming to Dinner (USA, 1967), was one of the first films to have glorified the multiracial society. A beautiful young woman introduces her fiancée to her parents. He’s black, likeable, cultivated and intelligent. His disarming sunny disposition and his kindness overcome the nasty and instinctively distrustful nature of white middle-class Americans.
Stanley Kramer doesn’t seem to like Catholics very much. The Runner Stumbles (USA 1979) tells the story of a priest who falls for a young girl and ends up on trial.
In The Defiant Ones (USA, 1958), Kramer advocates tolerance and the multicultural society. Two prisoners escape. They are chained together. One is white and very racist, the other is black and uncommunicative. Contrary to preconceived ideas, a solidarity of sorts forms between the two men. It’s a charming plea against racism.
Judgement at Nuremberg (USA, 1961) is a film on the famous trial of the Nazi leaders, held in 1947. We learn in this film that it’s the entire world which is guilty, not just Germany. On your knees everybody!
Aside from being another sanctimonious film, Ragtime (USA, 1991) has little interest. In 1906, in New York, a black pianist, who has bought himself a car, suffers the jealousy and racism of a group of stupid white people.
In Taking Off (USA, 1970), the fifteen year-old Jeannie has run away from home. Her parents join a help-group for parents with runaway children. So that they can understand the behaviour of their children, they are initiated in the ways of drugs and sex.
Hair is a film from 1979. One scene takes place in a church. A group of hairy hippies, tripping on LSD, turn the marriage ceremony into a wild party. These frenzied weirdoes dance madly, as if possessed by an evil demon. In fact, these dances closely resemble Hassidic practices (cf. Psychanalyse du judaïsme, p. 272). Once again, we see that cosmopolitan film directors love to interrupt Catholic ceremonies in their films.
In One Flew over the Cuckoo’s Nest (USA, 1975), the “Czech” Milos Forman tells us that the patients on the psychiatric ward aren’t really that mad at all and that, above all, they are the victims of an oppressive society which should be totally destroyed.
In 1997, Milos Forman directs The People vs. Larry Flint, a film on the outrageous life of the porn tycoon who became the standard-bearer in the fight against the moral order. We see this “pope” of porn (portrayed as a goy, which is classic accusatory inversion, for pornography is in fact the domain of the “cosmopolitan” mafia) dragged before the courts by an official of the moral order; he portrayed him in his magazine as having sex with his own mother in the toilets. Incest, in fact, is a constant and nagging question in Jewish cultural output (cf. the work of Hervé Ryssen) and it is, of course, no coincidence that psychoanalysis was conceived in the mind of a member of this community. The film poster depicts a man crucified on a woman’s pelvis.
Hurry Down Sundown (USA, 1966) is a story about jazz musicians in the American Deep South. The whites are ruthless and nasty, whereas the blacks are victims.
The glorification of intermarriage can be seen in The Human Factor (USA, 1979), a spy film. In South Africa, a British secret agent falls in love with a black woman.
The Cardinal (USA, 1963) is the story a young, noble-minded American bishop, who becomes a cardinal. The entire burden of disgrace weighs upon the small churchgoing community. The Catholics, who still refuse to let their daughters marry a Jewish man, are therefore despicably bigoted. The same thinking applies to the abortion issue. And since the film is a series of clichés, we also see that the Vatican refuses to take a stance on the racial tensions which shook the United States during the 1960s. Our protagonist therefore unofficially intervenes in a town in the Deep South, where a church was burnt down because the priest was black. We then see a classic scene from the cosmopolitan anthology in which our intrepid bishop is kidnapped by members of the Klu Klux Klan. At night, surrounded by a pack of hooded men, singing and drumming the beat of Dixieland, played on a harmonica, he is flogged until he bleeds, while a giant crucifix burns in the background! They do have the gift of showmanship, these Klansmen! Or, rather, Otto Preminger does.
Preminger was already discretely promoting homosexuality in Advise and Consent (USA, 1961). One of the advisers to the new president is a victim of intolerance. Somebody threatens to publically reveal his homosexuality, and he ends up committing suicide.
In Tell Me That You Love Me, Junie Moon (USA, 1969), we have: Junie, a young woman who has been disfigured by a sadistic lover; Arthur, a tortured epileptic; and Warren, a homosexual, paralysed in both legs. All three decide to leave the hospital where they are being treated to live together in a cottage. Otto Preminger gives great dignity to the homosexual character, and it’s no coincidence.
Preminger also contributes to the destruction of the patriarchal family with the film Such Good Friends (USA, 1971). Julie gets bored in her splendid Central Park apartment and discovers that her husband is having an affair. This satirical comedy vehemently condemns the New York WASP intelligentsia and its “adulterated” values.
Preminger, after a long career, finally came out publically in support of Israel with his film Exodus (USA, 1960). Fourteen years later, he does it again with Rosebud, a film which extols the virtues of the Israeli army. Things were now much clearer for everybody.
In The Firm (USA, 1993), Mitch McDeere (Tom Cruise) is a young law graduate who has just been recruited by the “Firm”, a powerful legal practice in Memphis. He is initially seduced by the salary and the perks, but he slowly begins to realise that the directors are in fact working for a Chicago mafia. All the lawyers – there are about thirty of them – are white, Nordic looking and Catholic. They embody the most sickening and hypocritical aspects of the American elite, supposedly.
Tootsie (USA, 1983) is a comedy. Dorsey is an unemployed actor. To obtain a role, he disguises himself as woman and becomes Tootsie. His disguise allows him to play a role in a TV series and build a fan-base. But he is soon faced with a dilemma: how can he tell his female colleague, who confides in him, that he is fact a transvestite and in love with her? There are lots of transvestites in cosmopolitan cinema.
In The Way We Are (USA, 1973), Sydney Pollack depicts the life of a young Communist militant woman at an American university in the late 1930s. Barbara Streisand plays the role of the young Jew who works tirelessly for the cause. She perfectly epitomises that relentless militancy so very typical of Jewish intellectuals. Courageously, she speaks out on the university campus to condemn “the fascism of big business” (accusatory inversion) and to defend the Spanish Republicans and “peace” (to be read with a mirror). Of course, she successfully stirs all the students. Her frenetic militancy is tiring for her friends and family. Nonetheless, she seduces Robert Redford, the placid goy, who has some difficulty in understanding what’s going on.
Addams Family Values (USA, 1993). The Addams family are rather peculiar. We are not entirely sure if they are witches, wizards or vampires, but there is no doubt they are devil worshippers. They live in a secluded mansion on a hill, cut-off from the rest of the world. They dress in black, have black hair and have a deathly, pale complexion. Their moral code is despicable: they have a passion for evil acts. And yet, their eccentricity renders them endearing.
The two children spend some time with other American children in a holiday camp. All the little boys and girls have blonde hair: they all form the idiotic, cowardly and intolerant majority. It’s not long before our two little black-haired devils are ostracised by this vile blonde-haired herd, steeped in middle-class values. But our Adams kids fight back. They rally together all the other underdogs, all the black-haired children in the camp unfairly scorned by these arrogant blondes. They take by storm the performance staged at the end of the holidays for the parents. The blondes are severely reprimanded. The nasty and gruesome people are in fact kind, while the bastards invariably have blonde hair.
Men in Black (USA, 1997) is a film which teaches us to welcome the foreigner in our country, all foreigners, even aliens. We are not aware of this, but many of them are already among us and have taken on a human form. The members of an ultra-secret agency are responsible for controlling this new form of immigration. They ensure that this remains a secret so as not to panic the population.
Our two super, special agents – one black, one white – embark upon a hunt for a hostile alien, who is no match for the efficiency of this crack squad. Though both are of equal competence, the white agent is, nonetheless, a tad tired. So it’s the black man who will continue the struggle and enjoy the affections of his new colleague – a white woman.
The film was directed by Barry Sonnenfeld, based on a script written by Ed Solomon, and the music was written by Danny Elfmann. What’s more, it was produced by Steven Spielberg. They are all aliens disguised as human beings and agents from the Matrix.
In The Heat of the Night (USA, 1967), a Philadelphia police officer, Virgile Tibbs, a murder case expert, is sent to a small town in the Deep South to help local police solve the murder of an industrialist. Just one problem: Virgile is black, and those stupid whites can’t stand him.
Virgile, who is the expert, soon discovers that the white cops are following the wrong trail. He is calm, conscientious, gifted with a rare intelligence, and always remains calm when confronted with the vile racism of these petty, arrogant white men who are not in his league.
Stupid as they are, they finally realise that they can’t do without him. Several times, they have to go the station to bring him back and beg him to stay. His investigation rapidly leads to the biggest farmer in the region. He is suspected of having organised the murder of the industrialist, who planned to build a factory and employ hundreds of coloured people.
The teenagers of this small and “conservative” community do not agree and they pursue Virgile Tibbs in a mad car chase. Of course, the difference of opinion is resolved in a deserted factory with bike chains and iron bars. Four against one, it’s safer that way. They’re like that, the whites: vile, cowardly, and despicable. Luckily, the police chief arrives just in time to save Virgile from a certain death. This sheriff, who was racist at the start of the film, seals the agreement between the two communities.
Naturally, the film was awarded five Oscars. It would have won a sixth, if Virgil had gone back to Philadelphia with the murdered industrialist’s wife. After all, she was a pretty white woman. But Norman Jewison didn’t want to go too far in 1967, perhaps fearing that those idiotic and volatile whites would stage a backlash!
In F.I.S.T (USA, 1978), Norman Jewison turns the people against the exploiters. Indeed, everything must be done to undermine the goy economic elite. It’s the story of Kovak, a Polish immigrant. He unloads trucks for a living and joins the union, the Fedration of Inter-State Truckers (FIST). The unionists join forces with the mafia to defeat the squads of armed strike-breakers, hired by the management.
It’s also important to bring into disrepute the bourgeois justice system of the indigenous people. In The Hurricane (USA, 1999), a boxer by the name of Hurricane is sentenced to life for a triple murder. But in fact he is innocent.
Twenty years earlier, Jewison had directed And Justice for All (USA, 1979). Kirkland is a hothead lawyer, who ends up in prison for having roughed up a perverted judge, whom he accuses of letting an innocent person rot in jail. And then, lo and behold, the judge, accused of rape, asks him to be his lawyer.
Agnes of God (USA, 1985) is another hostile film. The story takes place in a Canadian convent. One winter’s night, one of the nuns gives birth to a baby, later found dead in a dustbin. The baby was strangled, and Sister Agnes is charged with the murder, but protests to the judge that she remembers nothing. So Doctor Livingston, a young female psychiatrist appointed by the tribunal, comes to the convent to solve the mystery.
The nun who opens the door for her has a hateful look on her face. The psychiatrist questions the mother superior, who confirms that nobody saw anything. “You refuse to believe that Agnes had been raped or seduced”. Sister Agnes, it turns out, is ignorant of all matters relating to sex and procreation. On the other hand, she enters into a trance and talks at great length about her love for the Virgin Mary.
We subsequently learn that this poor girl, who had been abused by an alcoholic mother, had in fact been raped in a secret passage, which the psychiatrist discovers by nosing around. This poor child is really the only likeable person in the convent, for all the other nuns are as nasty as can be. Jewison, obviously, intends to share his disgust with us.
The Pianist (USA, 2001) recounts the tribulations of a virtuoso pianist in Warsaw during the Second World War. In September 1939, the Szpilman family, gathered around the wireless, learn that England and France have just declared war against Germany. They are all delighted “It’s marvellous”. But, alas, things quickly get very ugly following the German army’s victory. The German soldiers are, obviously, despicable. There are some sickening scenes, such as the poor old man, slapped in the middle of the street by a German soldier who orders him to get off the pavement. To survive, our Polish family have to sell their piano to some Polish bastard who takes advantage of their situation. During dinner, a meagre meal, the father gives his opinion: “It’s the Jewish bankers who should persuade America to declare war against Germany!” (Good point!)
A horrific scene then takes place: ferocious German soldiers have just entered the building opposite, interrupting a family meal, and order the family to stand up. As the old man in a wheel chair does not immediately obey, the Germans throw him out of the window while he is still seated in his chair.
In the end, they are all taken to the labour camps. Dead bodies litter the streets. A woman cries because she had to suffocate her baby to avoid being found by the Germans. In the middle of the street, one summary execution follows another… horrific…
In The Fearless Vampire Killers (USA, 1967), Roman Polanski depicts a blonde, homosexual vampire: this is a little bit of payback for a puny, dark-haired paedophile.
Repulsion (1965) is the story of a neurotic girl who plunges into the depths of murderous insanity. The director must have drawn his inspiration from some family cases (cf. Psychanalyse du Judaisme).
In Chinatown (USA, 1974), Polanski projects onto a goy family a problem which is very specific to his own community. In Los Angeles, during the 1930s, a drought forces farmers to sell their land. The land is then bought at a cheap price by the big property owners, in collusion with the local authority, which drains the scarce water from the damn at night.
Jack Nicholson, private detective, investigates the matter. Not everybody is thrilled with this. So he gets a warning, and ends up wearing a plaster on his nose, after they cut one of his nostrils. Does it hurt? “Only when I breathe!”
At the end of the film, the beautiful Faye Dunaway, slapped by Nicholson, finally reveals the identity of the little girl whom she had been hiding from everybody: she is both her daughter and her sister. So she had a child with her monstrous father, the big land owner. Here, Roman Polanski, in typical fashion, has projected onto the goyim a problem which seems to torment his own community: incest.
Pretty Baby (USA, 1978) is a plea for “tolerance”. The story takes place in a New Orleans brothel in 1917. This is where Violet lives. She is the daughter of Hattie, a prostitute. Once she reaches adolescence, her virginity is auctioned. Violet becomes a very popular prostitute. Whipped for having slept with a young black man, she runs away and takes refuge with Bellocq, with whom she has tumultuous affair. In this film, Louis Malle condemns a society which is “middle-class and hypocritical”.
Le Soufle au Cœur (France, 1971) deals with incest, which is a recurrent theme with Sigmund Freud’s coreligionists, and for good reason (Hervé Ryssen’s books are essential reading for an understanding of this issue). Set in 1954, the film tells the story of a bourgeois family in Dijon. The father is a very busy gynaecologist. Clara, the mother, cares for her son, Laurent, who suffers from a heart problem. She accompanies him to a sanatorium and their complicity leads to an incestuous affair. (On this theme, we could also mention Serge Gainsbourg and his song, Lemon Incest; the film War Zone (1999), directed by Tim Roth; and Stephen Spielberg’s The Colour Purple, etc.)
In Les Amants (France, 1958), Louis Malle demolishes the bourgeois family unit. Living among the gentry of Dijon, Jeanne gets bored with her husband. By chance she meets Bernard, a young anti-conformist.
Au revoir les enfants (France, 1987), is a famous film. The story takes place in 1944, in a Parisian Catholic school. A friendship is formed between Julien, son of an industrialist in Lille, and Bonnet, a Jewish child, registered under false identity. The kitchen boy, fired for having traded on the black market (it was a “Christian” speciality), gets his revenge by reporting the school to the Gestapo, and the Jewish children are arrested.
Once again, the self-righteous French bourgeoisie are accused. However, the film director, Louis Malle, was also the son of upper-class parents; but they were Jewish. His father was the director of a sugar beet factory, which belonged to his wife’s family, the Beghins. His film won a Golden Lion award at the 1987 Venice film festival.
Unlike a number of his peers, who make a career in the porn industry, Walerian Borowczyk didn’t go beyond erotic films. Take, for example, his film L’Intérieur d’un couvent (France, 1977). In an Italian convent, during the 19th century, the abbess discovers that sister Veronica has a lover, whom she lets into the convent at night. The abbess sends the young man away. Veronica takes her revenge by putting opium into the food. The nuns then become sex-crazed. Walerian Borowczyk is clearly not very Catholic.
In Les Héroïnes du mal (France, 1979), Marceline adores making love with her white rabbit. Her parents make her eat the rabbit in a casserole. She gets her revenge by offering her body to a butcher, who hangs himself before her eyes. She then slits the throat of both her parents.
Histoire d’un péché (France, 1975) is the story of Eva, a young girl, who is shy and religiously devout. Eva lived for a long time with her rich parents and had an affair with a married man, with whom she had a child. She kills the child. Walerian Borowczyk breaks all the rules and derides the repressive morals of reactionaries. His films are “disturbing”, “infuriating”.
Pedro Almodovar unashamedly tackles the most taboo subjects in middle-class values. In All About my Mother (Spain, 1999), Manula, a nurse, lives alone with Esteban, her seventeen year-old son. He dies tragically when run over by a car. Manuela (Cecilia Roth) then goes to Barcelona in search of the boy’s father. Along the way, she meets Agrado, a transsexual, Huma, a theatre actress, and Rosa, who works for a charity. Rosa is impregnated by Esteban’s father, who turns out to be a transvestite. He has also given her AIDS.
Almodovar revels in showing us a multiracial Spain, something which is, once again, very characteristic. The DVD of the film, produced by Michel Ruben, is presented by another member of the sect: Claude Berri (Langmann). Almodovar, naturally, won an award at the 1999 Cannes film festival (they are self-congratulating).
In High Heels (Spain, 1991), Almodovar depicts a rape by a transvestite. In Kika (Spain, 1993), we learn that the compulsive rapist habitually rapes his own sister. In the Law of Desire (Spain, 1986), Tina, Pablo’s sister, is a transsexual, corrupted by her father. Pepi, Luci, Bom (Spain, 1980) is Almodavar’s first film. Pepi grows cannabis on his balcony. Luci is the model wife of a policeman. By smoking marijuana, she discovers homosexual and kinky pleasures with Born, a singer in a punk band.
The Green Mile (USA, 1999) is set in a US penitentiary, in 1935. On death row, there are prison guards who are despicable and inmates who are full of humanity. All this is very plausible. Less plausible are the supernatural powers of a black colossus, accused of raping and killing two little girls. He is gentle as a lamb, innocent and wrongly accused. And yet, he will be the victim of men, injustice and the cruelty of the psychopath prison guards – all of whom are white.
In the Shawshank Redemption (USA, 1994), a prison warden turns out to be a total bastard as well as being a very devout Christian. With this film, Frank Darabon confirms his membership.
Marathon Man (USA, 1976) is a film starring Dustin Hoffman. A Nazi war-criminal, hiding out in Uruguay, comes to New York to trade some diamonds (the diamond trade being typically Nazi, as everybody knows). He cuts the throat of a prison camp survivor who recognises him in the street. One also recalls the scene in which we see the Nazi torture our hero in a dentist’s chair. This is because many dentists are “Nazis”. But John Schlesigner isn’t.
We then have The Believers (USA, 1987). In New York, toddlers are kidnapped and then killed in ritual murders. Jamison, the psychologist, discovers the existence of a sect, the Santeria, which practises a Cuban version of voodoo. John Schlesinger is not a member of a voodoo sect, but he brilliantly practises accusatory inversion.
In the Verdict (USA, 1982), a young woman has fallen into a coma as a result of medical malpractice. The town’s archdiocese, which runs the hospital, tries to bury the scandal by offering a large sum of money to the family’s lawyer. In the end, he will win the court case, thanks to a testimony given by a black anaesthetist. The Catholic Church and the judiciary get hauled over the coals.
Daniel (USA, 1983) takes place at the height of the McCarthy era. Daniel’s parents were Communist militants, who were sent to the electric chair for espionage. He decides to find out the truth. Sydney Lumet’s film re-examines the execution of the Rosenbergs. The director supports the idea that they were executed to make an example. A “Rosenberg” can only be innocent, despite overwhelming proof to the contrary. With this film, Sydney Lumet plays on community solidarity.
In the film Q and A (USA, 1990) detective Mike Brennan shoots a Puerto Rican gangster in self-defence. But the counter-enquiry reveals that Brennan is in fact a sadistic and racist policeman.
In Network (USA, 1976), Sydney Lumet pulls no punches: we realise that Arabs are buying up America with their petro-dollars and that they already control the media. A TV presenter calls for all Americans to stage a revolt. This is a fantastic example of accusatory inversion. This technique allows us to understand why “they” are always innocent, while the “others” are always guilty.
In Papillon (USA, 1973), Steve McQueen plays the role of an escaped convict, captured in a convent. Though the mother superior gives him an extremely cold welcome, she does offer him a room for the night. Unfortunately for him, she betrays him, despicably, and he is awoken by the police the next day: that’s what Catholic nuns are like.
The Boys from Brazil (USA, 1978) recounts the tale of a Nazi hunter, Ezra Liberman, who, during the 1970s, exposes a plot organised by a group of former Nazis, living in Paraguay. The dreadful Dr Mengle, the Auschwitz torture doctor, is their leader. He lives in a luxurious villa, sufficiently isolated to allow him to continue his sick experiments in genetics, and seems to reign over a group of herd of passive domestic servants who would appear to have been reduced to a state of slavery: he’s the white man in all his arrogance. The Nazis seem to rule in Paraguay. They openly organise functions in sumptuous palaces, but their murderous plot will finally be thwarted thanks to the tenacity of Liberman, our man of justice.
In Warlord (USA, 1965), set during the 11th century, the director smears the history of Europe in order to better glorify the “democratic” age. During a hunt, a young peasant girl catches the eye of the local lord. She is to marry a man, but the lord exercises his feudal right to sleep with any virgin woman on her wedding night (known as droit de cuissage, this was in fact invented by republican French during the 19th century). “Let’s make a clean slate of the past”, as his congener Karl Marx would have said.
Joseph Losey is an advocate of “tolerance”, too. This is the central theme of the film entitled The Boy with Green Hair (USA, 1948). A young orphan is victim of the hostility of his class mates. “A fabulous fable on racism, tolerance, discovering others and the fear of difference”, Serge Bromberg explains to us in the introduction.
The Lawless (USA, 1950) condemns the exploitation of Mexican workers in California.
In Monsieur Klein (France, 1976), Losey enjoys reversing roles and situations. Robert Klein (Alain Delon), a wealthy art-dealer, profits from the occupation by buying cheaply the paintings of Jews in difficulty. One day, however, the newspaper Jewish News is delivered to his home, even though he isn’t Jewish. It’s not long before he is accused of being Jewish and then deported. As everyone knows, art dealers are often money-grabbing Christians.
This reversal of role is demonstrated in Steven Spielberg’s The Twilight Zone: The Movie (USA, 1983) in which Bill the racist finds himself in the skin of somebody who is a victim of racism. The director Pavel Loungine uses the same technique in Luna Park (Russia, 1991). In this film, a bunch of neo-Nazis in Moscow terrorise Jews, homosexuals and outcasts, all of whom are ruthlessly hunted down. But one night, Andrei discovers that he is Jewish. Stunned, he goes in search of his father, an ageing artist, and they develop a solid friendship. Thus Andrei becomes a human being.
Joseph Losey’s film, The Servant (Great Britain, 1963), reverses the social order. A servant comes to dominate his aristocrat boss, who sinks into alcoholism. We can see here the obsession they have with overturning the social order of the goyim and destroying indigenous elites. In a similar vein, The Gypsy and the Gentleman (Great Britain, 1958) recounts the tumultuous love affair between a gypsy woman and a member of the English aristocracy.
In Elmer Gantry (USA, 1960), Richard Brooks shows us that the worst sort of bastard can hide behind the face of a good preacher. Naturally, his film won an Oscar.
Storm Warning (USA, 1951) condemns the racism of the Klu Klux Klan, a club for murderers, according to the script written by Richard Brooks.
There is also the need to destroy the patriarchal model family, in order to undermine traditional society. In The Happy Ending (USA, 1969), Mary Wilson has been married for sixteen years and has every reason to be happy. But, one day, she cracks, leaves her husband and decides to start a new life.
In Wrong is Right (USA, 1982), Brooks reassures us that he isn’t a Muslim, either. An Arab terrorist plans to wipe out Tel-Aviv and Jerusalem with two nuclear bombs. Those people are completely crazy!
The Day after Tomorrow (USA, 2004) is a disaster film which bears the trademark. After volcanic eruptions, tornadoes and meteorite strikes, global warming triggers a tidal wave followed by a new ice age. The ending reveals a great deal about the director’s mentality. Indeed, people living in the northern hemisphere are forced to immigrate to the southern hemisphere. The American president then declares: “Americans, but also other nations, are today hosts for what was once called the Third World. We were in distress and they let us into their countries, they welcomed us. I want to express my thanks for their hospitality”. Roland Emmerich’s message is, therefore, clear: we must let in all foreigners for in the future– in a future which is, let’s just say, uncertain – we, in turn, will be in need of them.
In Independence Day (USA., 1996), Roland Emmerich depicts planet earth attacked by aliens. The world will be saved by a black man and a Hassidic Jew.
I. Intermarriage and the Pluralist Society
The glorification of ethnically mixed relationships, the pluralist society, as well as “tolerance” in all its guises, can also be found in the work of many other film directors. For instance, Cédric Kahn directed the film Trop de bonheur (France, 1994), which depicts the lives of four teenagers in the South of France as summer approaches. They get together one evening with some of their friends in Mathilde’s villa, while her parents are away. Kamel loves Valérie. Music, dancing, drinking, sexual tension, treason, violence. When they meet again some years later, they hardly recognise each other. Kamel now lives with Mathilde.
Périgord noir (France, 1988) is a highly emblematic film. An African village is hit hard by the closure of the banana plantation, vital to the local economy. The beautiful Adiza, who studied in France, is given the task of raising funds necessary to reopen the plantation and save the community. Seeing a photo of a soldier in the suitcase of her late mother, she gets the idea of pretending that this man is her father, and goes in search of him. She then turns up in small village in Dordogne with several other members from her village. Antoine, the fake father in question, pretends to believe that he is the father of such a lovely young girl, and the Africans bring their energy to the sleepy French village. Everybody is getting on well, much to the displeasure of Jeantou, the wily and cantankerous local mayor, who regrets not being able to exploit these unwilling workers. Then love comes into the equation. When Jeantou refuses to marry several couples, the French villagers decide to go and live in Africa with their African friends. The film was directed by Nicolas Ribowski who, obviously, is neither from Périgord nor Africa.
Quand on sera grand (France, 2001) expresses very well the extreme hostility of cosmopolitanism towards traditional societies. The story is about Simon Dadoun, a thirty-year old journalist, who is unable to have a child with his girlfriend, a goy. Luckily, he finds comfort in the arms of his new neighbour’s wife, a Sephardic Jew. Like him, she is neglected by her obnoxious and arrogant Ashkenazi husband, a radiologist by profession. At the same time, the director, Renaud Cohen, shows that the French are very keen to marry with other races. Indeed, Simon’s friends are married: one is married to an Asian woman, while the other is married to a Senegalese woman.
Among the other French characters in the film, there’s his neighbour, a woman who lives in the same building. She is lives alone and is fairly depressed. As Simon has a big heart, like all Sephardic Jews, he introduces her to Roger, a French childhood friend, who is also unmarried and lonely. Everything seems to be going well for the young couple, until it turns out that Roger is a sexual pervert who, to make matters worse, can be violent. What’s more, he wears G-strings! Consequently, the young French woman becomes a lesbian. At the end of the film, she seems to have found her way in life and gives free rein to her proclivities. She declares that she would love to “make it with a Senegalese woman”.
Basically, Renaud Cohen films the French capital from a perspective which is multicultural in the extreme, as the film shows African gatherings, Oriental music and the Chinese New Year. To cap it all, the film shows cannabis consumption, mixed race couples and homosexuality for the goyim (the policy on homosexuality is to be exported to other communities only), and does so with great indulgence: we have here the main ingredients of cosmopolitan cinema.
In Gomez et Tavarès, a “French” film released in 2003, we see a young and rather ridiculous-looking muscled man climbing the wall of an expensive property in order to gain entry. Inside, on the wall, there is a photo of a beautiful blonde woman with her husband, who is black, and her children, who are slightly less so. And here, we immediately see it’s a cosmopolitan film. We continue to watch for the sake of it and, within a few minutes, we realise that all the actors have been selected according to ethnic criteria. With this in mind, we immediately check, and we discover that the film director is a certain Gilles Paquet-Brenner. Now, if you go onto the internet and enter “Gilles Paquet-Brenner” into a search engine and select “photos”, you will immediately see a picture of the director’s face. And what a surprise! The director’s not beautiful blonde woman! His next film is called Elle s’appelait Sarah (France, 2010), a sad story, set during the Second World War.
La Parenthèse enchantée (France, 1999) is a film directed by Michel Spinoza (like the Sephardic philosopher). The story takes place between May 1968 and the years marked by the AIDS virus. In 1969, two friends get married on the same day: Vincent (Vincent Elbaz) marries Marie, and Paul (Roschdy Zem) marries Eve. In this film, all the French women seem to have been promised to Eastern men of every religious persuasion. In addition, it is with great indulgence that the director treats adultery, Marxism, feminism and abortion.
In Vive la République! (France, 1997), Henri brings together a group of boys and girls, all of whom are unemployed like him, in order to establish a new political party focused on “breaking down social barriers”. In actual fact, the script is a flimsy pretext to depict France as being multiracial, with Arab actors and pretty French girls. The film is by Eric “Rochant”, who also directed Les Patriotes (France, 1994), a film in which Ariel Brenner, an eighteen year-old Jewish Parisian, decides to join the Israeli secret service. In this film, there is absolutely no reference to intermarriage and tolerance.
Thierry Binisti’s Monsiuer Molina (France, 2006) is a film “of great humanity”. Mr Bonnard’s two sons, Laurent and Jimmy, begrudge him for having made a will, which promises to leave the family home to Amina, who is not a member of the family. The two brothers are unaware that she is in fact their half-sister, the love-child of a secret affair with an Arab woman.
Mr Molina (played by Enrico Macias), a community judge in Lille, will have to solve this tricky family problem. The film is extremely sanctimonious, in a way that only cosmopolitan intellectuals, forever eager to preach to the rest of humanity, can be. The two brothers, narrow-minded and probably slightly racist, will therefore accept their new “half-sister” in the end. We should note that it is real pleasure seeing a Jewish judge, who was born in Algeria and has the accent “from over there”, lecturing the French boys, who bow their heads respectively before him.
There are also lots of prostitutes in cosmopolitan cinema. La Vie devant soi (France, 1977) is a film directed by Moshé Mizrahi. Madame Rosa, an elderly Jewish woman, suffering from illness, is a former prostitute who lives in Belleville. She takes the children of local prostitutes into her care. She is particularly fond of Momo, a fourteen year-old Arab boy, whom she raised as a Jew. The story is based on a novel written by Romain Gary (Roman Kacew).
Romain Goupil belongs to the same community. He directed Les mains en l’air (France, 2010) a film which urges the French to open their heart, open their borders, open their…Milana is a child from Chechnya. Her friends at primary school are Blaise, Alice, Claudio and Youssef. But one day Youssef, whose parents are illegal immigrants, is deported. Then Milana’s parents are threatened with deportation. As the children feel in danger, they decide to take action…
This hostility is seen on a daily basis in the media. In 2006, a TV soap opera, such as Plus belle la vie, gives an idea of the single-mindedness of cosmopolitan filmmakers. In this series, the Arabs and black people are all naturally wonderful and “really nice” while the white, heterosexual male is portrayed in the darkest light.
The TV film glorifies mixed race relationships. A woman with children has an affair with her husband’s boss, who is black and a good man in every respect. Another French woman, Juliette, has fallen in love with another black man. The problem is that he is an illegal immigrant. So she’ll do everything she can to legalise his status. She finds a solution, thanks to a homosexual cop – a white man – who steals a passport from the police station to give it to the illegal immigrant. The glorification of mixed race couples and homosexuality is, indeed, the unmistakeable trade mark.
Other characters in this series: a police officer happily in love with a man, whose father runs a bar in Marseille; two homosexuals who struggle to adopt a child; a barmaid who discovers that she has Arab origins; and a debauched priest.
As for the white women, they are urged to have an abortion. A fifteen year-girl gets pregnant. She asks her boyfriend: “Do we keep the baby or do we vacuum it away?” “Vacuum it away, my girl, especially if he’s white”: this is what the director implies. For the whites are bastards, it’s a known fact. Wherever they go, they do evil. The exact opposite of the Jews, basically. We can see the whites, for instance, testing a new vaccine on impoverished Africans. This evil experiment will wipe out the village. We also have an extreme right activist who will be sentenced in court for having deliberately run over a poor Arab, etc. Here, we must thank Olivier Szulzynger for the scripts.
In the beginning of the 21st century, there are many other examples of French TV series which are loaded with ideology, such as: Navarro, created by Pierre Grimbalt and starring Roger Hanin; Commissaire Moulin; Quai n°1; PJ, created by Alain Krief; and Une femme d’honneur.
Take, for instance, Julie Lescaut and the episode entitled Crédit Revolver (1994). A baker, a true Frenchman and very racist, gets his rifle out at the drop of a hat to threaten young immigrants. He is friends with the deputy mayor, Lefranc, who is the leader of an extreme right party, “The Union for France”. As for the mayor, he’s a bastard, too, because he was voted in by the extreme right. Lefranc turns out to be a murderer but, luckily, he will be exposed by Julie Lescaut.
In 2004, the director Stéphan Kurc releases Le Triporteur de Belleville. In 1940, when the French army was decimated in the Battle of France, Victor Leïzer, a young Jewish soldier from Belleville, gets separated from his regiment. With another soldier, who has also lost his regiment, he roams the deserted French countryside. One evening, the two men come across a group of Senegalese troops in a farm. Their leader is a French teacher from Dakar. He was obliged to fight a war far away from his home country. He is highly articulate and his language is extremely refined: “Gentleman, let’s be done with these tall stories!”
It is with great dignity that he chooses to be killed by the Germans rather than be taken prisoner, far from his country. Of course, Jewish and black soldiers formed a majority among the frontline troops, even though a quick calculation gives us a percentage of about 1 or 2% at the very most. When it comes to making French viewers aware of an issue, they are unscrupulous.
In Terre de lumière (France, 2008), a story of incest between a brother and sister, Stéphane Kure projects the guilt of this act onto the French in Algeria. The film oozes anti-goy racism.
In Le Pacte des loups (France, 2001), the director Christophe Gans has his own particular way of recounting the 18th century tale of the Géavaudan beast. Though it has claimed many victims, nobody can describe the beast. It’s a monster from hell or God’s punishment, nobody’s entirely sure. The knight Grégoire de Fronsac is sent to solve the mystery. He is accompanied by the strange and brooding Mani, a Mohawk Indian. He is a kung-fu black-belt and the local peasants, who are probably very racist, get a serious beating.
The enigma is finally solved. The beast comes from Africa. It was brought into the country by a local aristocrat, a member of a secret and dangerous Catholic society, led by a killer priest, so that people would remember the beast of the Apocalypse and repent. And, once again, we have incest: the aristocrat in question is in love with his sister.
In the United States, it’s also the children of the “chosen people” who dominate the media system. American Beauty (USA, 1999) is an entertaining film. In an upscale American suburb, a married couple tear each other apart. The wife sleeps with a property developer, whereas the husband has fallen in love with his daughter’s friend, who is barely fifteen years old. His daughter, who can’t stand him, becomes infatuated with the new neighbour’s son, an odd character who spends his time filming everything around him. His dad is an extreme-right military man, who beats his son with the utmost violence. When he suspects his son is selling drugs and sleeping with the neighbour’s daughter, he flies into a rage. It’s his despair which finally reveals…his latent homosexuality!
Homosexuality is again shown with great indulgence when a gay couple discreetly appear; they seem to be the only happy household in the neighbourhood. Trivialisation of adultery, drugs and homosexuality, ambiguity surrounding paedophilia and incest, condemnation of the extreme right: we have here a film which bears the trademark. Sam Mendes is the director and his film, naturally, was awarded five Oscars. “Ironic, provocative and disturbing”, is what we read in all the reviews.
Far from Heaven (USA, 2002) is also very typical of the genre. In a wealthy American suburb during the 1950s, a housewife discovers the secrets of her husband’s life. One evening, he calls to tell her that he’ll be working late. She decides to surprise him by bringing him dinner to his office. All the employees have left the building and, once she reaches the fourteenth floor, she pushes open his office door, and is shocked to discover her husband passionately kissing…another man! Luckily, our beautiful American woman will find solace in the arms of her gardener: a burly black man, who knows how to take care of her. Homosexuality for the white man and mixed-race relationships for the white woman.
Naturally, the film, directed by Todd Haynes, was nominated for four Oscars. “A pure diamond”, according to the Les Inrockuptibles (Serge Kaganski). “Deeply-moving, a masterpiece”, according to the magazine Zurban. Todd Haynes does indeed belong to the community, thanks to his mother.
Let’s now look at an episode of the crime series, The Wire. All the police chiefs and the good guys are black; all the whites are stupid, to a degree rarely seen in a TV series. One policeman, for instance, photocopies his telephone to record a telephone number. The only intelligent white man is an alcoholic…The heroine in the force is a black lesbian (in a relationship with another black woman). There are also two junkies, drugged up to the eyeballs; a black philosopher; and a moronic white man who is ravaged by AIDS, which doesn’t stop him back from declaring that he is “Viking”. There is also a black criminal Omar, a Muslim and homosexual, who sleeps with a white man (who adopts the role of the woman). The director of this episode is a certain David Simon, who, obviously, is also a member of the sect.
During the 70s and 80s, the two cult TV series, Kojak and Columbo insidiously conveyed the cosmopolitan message. Kojak polices the tough neighbourhoods of Manhattan. He deals almost exclusively with dark-skinned individuals belonging to ethnic minority groups.
Each and every single one of Manhattan’s minority groups appears in the 116 episodes of the series, which ran from 1973 to 1978. They are lined up one after the other, and are reduced to one or two simplified and dominating characteristics: gypsies in traditional dress, making a living a from fortune telling, predicting the future with the obligatory crystal ball; groups of young black men, portrayed by the script as being good guys at heart, briefly led astray in a mere moment of madness, soon regretted; Peurto Ricans relentlessly playing basket ball on courts, enclosed behind metal-grid fencing; Italians, who have remained religiously very devout, carrying out odd-jobs; violent Poles; nostalgic Jews (the issue is avoided); inscrutable Chinese, etc: all the communities which make up the American melting-pot.
The suspects often turn out, in the end, to be innocent. Kojak’s role here is very clear: while protecting the system and upholding American law and order, this policeman must, subtly, facilitate the integration and assimilation of ethnic minorities. The script writer and creator of Kojak, a certain Abby Mann (“Abby” as in “Abraham”), was also the author of The Simon Wiesenthal Story (USA, 1989), a film on the famous Nazi hunter.
The other cult series on the television at the time was Columbo. By way of contrast to Kojak, Columbo confines his investigations to the chic residential suburbs of Los Angeles. His business is murder, and he never deals with hold-ups or burglaries. His redoubtable adversaries are members of the high society. They take themselves for criminal geniuses and have perfect alibis. Compared to them, Colombo cuts a sorry figure with his grubby, worn-out raincoat, his shabby suit and his old, battered Peugeot 403 cabriolet. Everything about him contrasts with the elegant style and poise of his counterparts.
And yet, in every episode, our little lieutenant triumphs against the arrogance of these rich, beautiful and conceited people who represent the Anglo-Saxon upper middle class. The creators of this series, the first episode of which was broadcasted in the United States in 1968, were William Link and Richard Lewinson. The sole objective of these two television series was to instil a feeling of guilt among the European elite and reinforce the multicultural society by simultaneously “working on” the white goyim from above and from below.
It’s Open Season on Blondes
Jagged Edge (USA, 1985) was directed by Richard Marquan. An editor of a major Californian daily is accused of having murdered his wife in order to get his hands on the huge heritance. Convinced of his innocence, a famous lawyer accepts to take on his case and defends him in court.
During the trial, however, there are certain elements which make her have doubts, in particular the behaviour of one of the witnesses, who has the characteristics of a dangerous psychopath: he has blonde hair and is Nordic-looking. He appears dangerous and even attempts to attack the lawyer in the car park. But he doesn’t turn out to be the guilty party. It is in fact the lawyer’s client, the newspaper editor, who treacherously seduced her. He’s also blonde and Nordic-looking (just like the majority of “newspaper editors” – to be read in a mirror).
At the same time, we discover that the public prosecutor is a disgraceful character. Indeed, in a case going back some years ago, he buried a key-piece of evidence, which would have prevented one of the accused being given a ten year prison sentence. The victim of this miscarriage of justice was a black man. Black men are good, whereas white men are bad, and their institutions are corrupt.
In Desperately Seeking Susan (USA, 1985) a young and somewhat uptight woman turns into a sassy punk, following an episode of amnesia. The film’s mediocre script is of little importance. It is just worth noting that in an “open”, “liberated” and highly multicultural society, the black saxophonist in his apartment plays the role of a democratic pin-up-boy, while the role of the arsehole is invariably allocated to a man with blonde hair. Is this a coincidence? The film was directed by Susan Seidelman.
Copland (USA, 1995) shows the unorthodox practices of certain New York cops. Many of them have fled the great cosmopolitan city, which they find abhorrent, in order to live on the other side of the great Hudson River, in a small and peaceful town called Garrison. Here they can live peacefully among other white people. We soon realise that these white cops, who bury their dead to the sound of Irish music, are terrifyingly organised. They do not hesitate to doctor case files or kill other members of the police force who get in their way. Indeed, they have put together a bona fide mafia.
But the humble local sheriff (Sylvester Stallone), who has turned a blind eye up until now, will finally find the courage to take action. All these bastards are white cops whereas on the other side, in New York, the multiracial police force presents a friendly face. This film, which bears the trademark, was produced by the very devious James “Mangold”.
The politically correct mentality can also be found in Pocahontas (USA, 1995), a cartoon created by Eric Goldberg. Pocahontas, a young and independent Native American woman, refuses to marry the man chosen by her father. She falls for an English adventurer, who is less racist than the others. She’ll leave him in the end to stay with her people. The English are greedy, cruel and repulsive. The Indians are good and wise.
The Pocahontas cartoon has been carefully designed to please everybody: she has black hair, an amber-coloured complexion and almond-shaped eyes. She resembles several types of woman all at once: an Indian woman, a black woman, a Chinese woman, a Berber woman and a gypsy woman. She asserts her “global ethnicity”, just like Eric Goldberg.
Runaway jury (USA, 2002) is a story about the manipulation of juries by the American arms lobby. The bad guys are blonde-haired manipulators, tremendously organised and efficient, and work for the gun manufacturers lobby. Espionage, violence, blackmail and manipulation are their areas of expertise. Everything is done to win the trial, but, luckily, those bastards lose in the end thanks to the intelligence of the little lawyer, played Dustin Hoffman. Garry Fleder directed the film, based on a script written by David Lieven and Brian Koppelman, all of whom are agents from the Matrix.
School Ties (USA, 1992) is a film by Robert Mandel. David Greene joins one of New England’s most elite preparatory schools. Within a few weeks, he is one of the stars of this institution, thanks to his athletic and intellectual prowess. For David, this institution is a gateway to the top universities and represents the hope to improve his lot in life.
However, in order to be accepted by his rich classmates, full of anti-Semitic prejudices, and to win the love of young girl from a wealthy family, David is obliged to hide the fact that he is Jewish…until the day when the truth gets out. That’s when we see that the Christian elite is made up entirely of nasty individuals.
In French cinema, too, the white heterosexual male is cast in a very negative light. In 1984, Roger Hanin, François Mitterrand’s brother-in-law, releases Train d’enfer, the story of a horrific murder in a train. A young Arab is lynched and then thrown out of the window by three soldiers. In this film, all the French are portrayed as monsters, and they are all as bad as each other. We ought to make it clear that Train d’enfer benefitted from financial aid (an advance based on takings), granted by a public body chaired by Bernard-Henri Lévy, i.e. a subsidy paid for by French tax-payers.
Gérard Pirès had a great deal of success, too, with his film Taxi, released in 1998. Sami Naceri, a madman on the road, defeats a bunch of dangerous criminals. These wrongdoers are all German and Nordic-looking, and they are all stupid as they are nasty.
In 1999, Alain Berberian spawned the film Six-Pack. In Paris, a police detective tries desperately to put an American serial killer out of action. The man has already killed and mutilated five young women. But, since he is the cultural attaché at the American embassy, he is protected by diplomatic immunity. The bad guys are played by Nordic-looking men (the police chief, the psychotic killer) whereas the good guys (the police commissioner, Nathan, and the inspector Saül) are all, once again, played by dark-haired men, with features which are very characteristic of those belonging to the “chosen people”.
With Michael Ritchie’s film The Golden Child (USA, 1986), we are now longer in any doubt that black people will save humanity. A child, gifted with divine powers, has been kidnapped from a Tibetan monastery by the cunning Numpsa. Only somebody chosen by God can find him. And the chosen one in question is a black man from Los Angeles.
In Deep Impact (USA, 1998), a gigantic asteroid is about to hit planet earth. The world is saved in the nick of time by the American president, who is a black man. In the Luc Besson film, The Fifth Element (France, 1997), the president of the world is also black. In Bruce Almighty (USA, 2003), we again have a black man, who plays the role of God. The film was directed by Tom Shadyac and the script was written Steve Kohen.
David Palmer, the US president in the TV series 24 is again played by a black actor. But the model of the genre remains Roland Emmerich’s Independance Day (1996), a film in which planet earth is attacked by aliens and saved by a black man and a Hassidic Jew. This propaganda primed the Americans to elect their first ever black president in November 2008.
Islam as seen by Hollywood
We have already seen how Alexandre Arcady, Sidney Lumet, Otto Preminger and Richard Brooks have treated Islam. For the 80s and 90s, we have identified some thirty films showing Arabs attempting to enslave the “free” world. Most of these films were made by Jews and Zionists.
The Siege (USA, 1998) is a film directed by Edward Zick. The United States is targeted by terrorists. In retaliation, a commando squad kidnap the leader of an extremist Islamic group. An ultimatum is delivered to the New York anti-terrorist squad.
In Delta Force (USA, 1986), a film directed by Menahem Golan, a group of Arabs hijack a plane and terrorise the passengers.
Back to the Future (USA, 1985), directed by Robert Zemeckis, depicts Arab arms smugglers as being as stupid as they are violent.
In Black Sunday (USA, 1977), a female Palestinian terrorist threatens to kill thousands of Americans gathered in a Miami stadium to watch a football match. She kills anybody who gets in her way. It’s a John Frankenheimer film.
In the William Friedkin film Rules of Engagement (USA, 2000), the American ambassador to Yemen is threatened by a crowd led by Islamists. They are so vile that the viewer applauds when the American marines begin their massacre. Friedkin also directed The Exorcist (USA, 1973), a very famous horror film. At the end of this production, the viewer associates the devil with the Catholic Church.
Cast a Giant Shadow (USA, 1966), directed by Melville Shavelson, deals with the creation of the Israeli state. The Palestinians are portrayed as blood-thirsty and brutal, while Kirk “Douglas” (Demsky) plays the American soldier who has come to lend his expertise to help the Israeli cause.
Christianity in Cosmopolitan Cinema
The majority of cosmopolitan film directors have dealt with this subject, as we have already seen. On television and in film, Christians, especially Catholics, are most often depicted as bigoted, blinkered, narrow-minded and intolerant people and are even shown as rapists or murderers. As for the Catholic clergy, it is most frequently portrayed as a den of sadists and perverts of various sorts.
The model of the genre remains the famous The Name of the Rose (France, 1986), directed by Jean-Jacques Arnaud. The script is based on the novel, written by the world-renowned Umberto Eco. This is a detective story which is set in a Benedictine monastery in northern Italy at the beginning of the 14th century. Clichés about the Middle Ages pile up throughout the film. All the monks, without exception, are mad in one way or another. They grow fat on the back of peasants, who come and give them the fruit of their meagre harvest, whereas the peasants live down among the dirt and the rubbish, which the monks are kind enough to throw to them.
Everything about the Catholic Church is perverted. It maintains people in a state of mental slavery and keeps them in fear of the devil. It carefully hides the wonders contained in the Greek books, which could undermine its power. William of Baskerville, the Franciscan monk brilliantly played by Sean Connery, manages to solve the mystery and rescues several of the forbidden books from the flames.
Of course, it all ends in torture and burning at the stake. The film was made in collaboration with Jacques Le Goff, a Marxist historian (Karl Marx also belonged to the “community”). Anybody seeking a non-Marxist insight into the Middle Ages, a magnificent period, would benefit from reading Régine Pernoud’s very short book, Pour en finir avec le moyen âge, published in 1977. Indeed, nobody will have us believe that the Gothic cathedrals were built by slaves and the starving poor.
We should also note that at no point in the film is there any mention of a rose. It is, of course, a title aimed at those initiated in Kabbalah. In this regard, it is worth noting that in 2005 the author, Umberto Eco, wrote the preface to Moshe Idel’s Mystiques messianiques, a work which draws a parallel between Hebraic messianism and Marxism. We already knew that, according to Marx, religion was “the opium of the people”. But what we must really understand here is that Marx was really referring to Catholicism.
As for Jean-Jacques “Annaud”, he is perhaps in reality a “Hanau”, though he has no clear relation to Marthe Hanau, who famously defrauded the financial markets during the 1930s. Jean-Jacques Annaud also depicted the French presence in Africa in 1915. The film, La Victoire en chantant (France, 1976), shows the French colonial population as being made up exclusively of stupid alcoholics, whereas the black natives are full of wit.
Monsignore (France, 1982), directed by Frank Perry, is the story of a debauched cardinal who succeeds at seducing a nun. He ends up in court, but the cardinal is powerful; he controls the bank and acts as a middle-man for the mafia. The Pope, who is aware of the case, discreetly remains silent!
In the comedy The Favour, the Watch and the Very Big Fish (USA, 1991), Louis works as a photographer in the studio managed by Norbert, an expert in religious inspired work. Looking for a new model to represent Jesus, he meets a somewhat eccentric pianist, who looks like Christ (Jeff Goldblum!). They quickly make a deal. The new model does an excellent job of looking like Christ on the cross, at the table with the apostles and in all the other biblical portraits.
But then, gradually, the phoney Christ starts to believe that he is the true Christ! In a rather bizarre scene, Jeff goes home while carrying a swordfish on his shoulder, which he puts on the kitchen table for his wife to prepare dinner. She puts the entire thing in the grinder, along with ducks feet! The meal she places on the table, in front of her husband, is a revolting black colour which turns the stomach. She then asks him “Have you found our Lord Jesus Christ?” (with a close-up on the disgusting dish). It is, therefore, very clear that this “Jesus” makes the director, Ben Lewin, want to vomit, and that he fully intends to share his disgust with the audience.
Even in an amusing cartoon, such as Shrek, we again find the contempt for ancient civilisation. It’s the Middle Ages and Shrek, a gentle and likeable ogre, lives in his forest, cut off from the world. But he will come to confront the dragon and free the beautiful princess. The king is a hateful and ridiculous dwarf, which is not really in keeping with the European tradition. He means to marry the princess but Shrek, who has fallen in love with her, will come to her rescue in the nick of time at the cathedral, where they all celebrate the marriage. The dragon, which gains entry into the cathedral, breaks the stained-glass windows: this is highly symbolic. It’s the image which the author William Steig and the script-writer Ted Elliot wanted to leave us. They are both fervent Zionists.
Le Moine et la sorcière (France, 1986) portrays Medieval society in the darkest light possible, in order to better glorify the “democratic” age. During the 13th century, Brother Etienne comes to a village to root out heretics. Elda, a young woman who has the power to cure people with plants, is accused of being a witch. The inquisitor has her transferred to prison, under the custody of Count de Vilars, who happens to ruthlessly exploit his peasants. Clearly, life was dreadful during that period, at least according to the director, Suzanne Schiffman.
Peter Webber’s film, Hannibal Rising (USA, 2007) reveals the childhood of the famous Hannibal Lecter, the psychotic murdering cannibal from The Silence of the Lambs. As a small boy in Lithuania, during the war, he saw his little sister devoured before his eyes by starving Russian soldiers. As a teenager, Hannibal seeks revenge. He plans to find the murderers, one by one, and then eat their brain. One of them now owns a restaurant in a small town in France, and Hannibal is already delighting at the fate he has reserved for him. Sat at a table, he spies his victim. We also discover, at this point, that the restaurant owner, that child murderer, is also a good Christian who is keen for his children to go to church.
Homosexuality on our screens
Cosmopolitan propaganda has shaken off all constraints over the last few years. For a long period, such propaganda could not be openly exploited, owing to the weight of goy prejudices, which remain somewhat of a cause for wariness. So this propaganda found an outlet in the glorification of debauchery, in order to gradually undermine the vision of the family unit. It was in this direction that cosmopolitan filmmakers went to seek their inspiration, as they could not give full expression to their fevered imaginations.
There are, therefore, a plethora of films which present adultery in a favourable light. Following this phase, homosexuality was then more openly glorified. It took many decades of work on the psyche of the “beast” to make him accept images of his people playing the role of homosexuals, while his most beautiful women would leave with “the coloured man”. But we have probably not yet reached the lowest point of this decline. There will soon be a time when they show us that multi-coloured, cosmopolitan crowd worshipping the High Priests and bowing down before the king of the Davidic line. This would be the ideal, but would Yahweh let us have a taste of this bliss?
As we have seen, homosexuality is the major theme in cosmopolitan cinema. In Whatever Works (USA, 2009), Woody Allen trivialises homosexuality and destroys the patriarchal family by converting a Christian couple. The wife becomes a devotee of group sex, while her husband becomes a happy homosexual.
Brüno (USA, 2009) is “infuriating” and “unsettling” film, directed by Larry Charles and Sacha Baron Cohen. It’s the fantastic story of an Austrian homosexual journalist who is determined to be a star (or “chtar”, as he pronounces it) in Los Angeles.
Spring Fever (China, 2009), directed by Lou Ye, is a “highly controversial film on homosexuality in China”, according to the newspaper Le Monde. The film, selected for the Cannes film festival, was subsidised to the tune of 70,000 euros by the Ile-de-France regional authority and also received 120 000 euros from the French ministry of foreign affairs via its body Fonds Sud Cinéma, whose remit is to support foreign film. The newspaper states that the film was produced by Sylvain Bursztejn.
In and Out (USA, 1997), directed by Frank Oz (Oznowicz) is an “hilarious” comedy, apparently. Howard Brackett is a professor of literature at university in small town in Indiana. All his students like him, until one evening his reputation is turned upside down when a former student, who has become a film star, thanks his former “gay” professor on a television programme. The former student thought he was doing the right thing, but Howard Beckett is obviously dismayed by this declaration. Parents, friends, and students now treat him with suspicion. So he decides to quickly marry his fiancée to put a stop to the rumour. But he didn’t count on the journalist who follows him everywhere with this camera, encouraging him to “come out”. During the church ceremony, just at the moment when his about to say “I do” to his fiancée in front of his entire family and all the wedding guests, he changes his mind and, resignedly, says in a low voice “I’m gay”. Everybody is shocked. The ceremony is, of course, interrupted (it’s an obsession!) and the couple tear each other apart in public.
The director, however, makes us understand that it’s better this way. Howard’s friends and family finally turn out to be understanding. The problem is that he has lost his job at the university, a victim of the intolerance of those uptight Christians. The final scene is the highlight of the film. During the graduation ceremony, students and parents are shocked to learn that the professor had been fired. They all stand up, one by one, to declare that they are “gay”.
In 1975, Claude Miller directed a film entitled La meilleure façon de marcher. It’s the story of a holiday camp supervisor. He is shy, withdrawn, moody, and is ribbed by his colleagues. One day, one of them (Patrick Dewaere) goes into his room without knocking and finds him dressed as a woman. This remains a secret until the end party, organised to mark the end of the holidays. Everybody is in fancy-dress and the repressed homosexual decides to dress up as a woman. In a filmed interview, Claude Miller openly admits that he had based the filmed on his own personal experience.
In 1998, the film director Jean-Jacques Zilbermann makes an honest examination of homosexuality in the Jewish community, rather than projecting his own personal experience on to the entire of humanity in Freudian fashion. Once again, however, the title does correspond to a projection: L’Homme est une femme comme les autres (Man is a Woman).
The feminisation of Western society and the rise of homosexuality are not, therefore, merely due to pure chance, but are in fact the corollary of the control of the media by a number of influential intellectuals and journalists, who intend to accomplish their militant mission as the “priests to humanity”. What we have here is not just a political project which, based on a prophetic delirium peculiar to Judaism, aims to destroy the European world. It is also the expression of a neurosis, which is highly characteristic of this community. In this regard, the chapters dealing with the “psychoanalysis of Judaism”, found in the books written by Hervé Ryssen, are essential reading.
L’Auberge espagnole (France, 2002) is a well-made film, directed by Cédric Klapisch. Here the director took care to make Cécile de France play the role of a lesbian, who is happy and well-balanced. In the follow up film, Les Poupées russes (France, 2005), we again have feminine homosexuality (between white women), but this time Klapisch adds a mixed-race couple (a white man and black woman), cocaine consumption and a transvestite scene.
In Le Placard (France, 2001), Francis Veber tells the story of drab accountant with a dull personality who is about to be fired. Following the advice of his neighbour, an ageing homosexual, he decides to pass himself off as gay in order to keep his job. Everybody changes their attitude towards him, and it all suits him very well. Francis Veber’s film promotes homosexuality and presents those who remain somewhat reticent as being nasty, vicious bastards, who are probably “repressed homosexuals”.
Forty seven minutes into the film, there is a dialogue between two employees, who touch upon the question of incest in relation to a film, shown on the TV the day before. The story is about a young girl who has fallen in love with a man, only later to realise that this man is no other than her own father. Cosmopolitan directors often slip into their films this sort of veiled reference which only the initiated perceive.
Coup de chance (France, 1991) is a Pierre Aknine film. François Kaplan, insurance company director, dies in an accidental fall, after having learned that his wife is leaving him to live with another woman.
Clara Sheller (France, 2004) is a series created by Alain Berliner. In the episode entitled Une Femme peut en cacher une autre, Clara has doubts about Gilles, who she suspects is seeing another woman. Her friend JP tells her that he is secretly going out with Pascal, a man who is already in a relationship. In La porte de la tour bancale, Gilles and JP are having trouble committing to a serious relationship. JP is now sure that he loves Gilles and no longer wants to wait to be happy. Thanks to Elie Berliner, French families were able to see two men in a bed together on TV in the early evening.
Les Yeux brouillés (France, 2000) is a film by Rémi Lange. Rémi has been living with Antoine for three years and decides to take a lover.
Pédale douce (France, 1996) is a film on the world of gay clubs and transvestites. The plot and the confusion of identities, resulting from this hugely successful film, are the work of Gabriel Aghion.
Gazon maudit (France, 1994) directed by Josiane Balasko, is another well-known film. It’s about a lesbian who comes into the life of a couple, and the husband finally accepts this love triangle.
In Mauvais Genre (France, 1996), directed by Laurent Bénégui, Martial has just written a novel. He is keen on Camille, but Camille prefers women.
There is also much talk of transvestites in cosmopolitan films, as we have already seen. Chouchou (France, 2003) is a film by Merzak Allouache, a director who was born in Algeria. Chouchou, a young Arab, illegally gains entry into France to find his nephew in Paris. He finds a job as a cleaner cum receptionist for a psychoanalyst. His nephew has become “Vanessa”, a romantic cabaret singer, and Chouchou also decides to become a transvestite in his spare time. The film crawled out of the imagination of its scriptwriter, Gad Elmaleh, who also plays the lead role. The other films are listed in Hervé Ryssen’s books, dealing with the psychoanalysis of Judaism.
Accusatory inversion is when the guilty party accuses the innocent of the very act which makes them feel guilty. It is a common procedure which allows a clear understanding of what drives cosmopolitan propaganda. We can thus demonstrate that high finance supports fascist groups. In L’Héritier (France, 1972), for example, Bart Cordell comes back from the United States to inherit an industrial empire. He discovers that his father was murdered by his step father, who manages the industrial group and finances a neo-fascist party. This is what the script writer – Jacques Lanzmann – would have us believe.
Mille Milliards de dollars (France, 1981), directed by Henri Verneuil (his real name: Achod Malakian), pursues the same objective. A journalist discovers that GTI, a multinational, was working for the Nazis. The director refuses to continue with the investigation. The journalist goes into hiding and has a small, local newspaper publish his article. The national, mainstream press, as is well known, is entirely controlled by fascists. This is clearly a case of accusatory inversion.
Pavel Lounguine’s film, Un nouveau Russe (Russia, 2003), is an indictment of the mafia which has ravaged Russia ever since the collapse of the Soviet system. The “oligarchs” here are no longer the slightest bit Jewish. Here’s the plot. At the end of the 1980s, Platon Makovski and his friends, who are brilliant university students, ditch their scientific degrees to set up a business. Platon, who comes from the southern region, teams up with the mafia (Uzbek). But we must understand that he was obliged to do so, in order to protect himself from violent gangs. In any case, he and his friends are so likeable that we are prepared to forgive them. He has become the richest man in the country and controls national television, but works for the common good.
Alas, Platon will be assassinated. The villains of the piece, the authors of this cowardly murder are Russian patriots, Marxist-Leninists who are well-built, hard and have blue eyes. But they deceive the Russian people and stop at nothing to kill Platon, the friendly multi-millionaire. Once again, it’s the white man who plays the role of the bastard. Obviously, there is no need to study Pavel Lounguine’s family tree to see which mafia he belongs to.
In The Black Dahlia (USA, 2007), Brian de Palma never shows Bugsy Siegel, the Jewish gangster found guilty of having committed atrocities, and has the WASP middle-class bear the full weight of the shame instead. Likewise, Barry Levinson’s Bugsy (USA, 1992), a film which charts the trials and tribulations of Bugsy Siegel, does not reveal the fact that the psychopath was a Jew. He is portrayed as an Anglo-Saxon and is played by Warren Beatty.
We have seen that in the Lethal Weapon films, directed by Richard Donner, the gangsters, the drug dealers, the bastards were also systematically Nordic-looking men. You need to have read Hervé Ryssen’s book The Jewish Mafia (2008, 400 pages) in order to understand that, here once again, we have a case of accusatory inversion.
In Scarface (USA, 1983), for example, Al Pacino plays a Cuban criminal who manages to reach the top of the Miami criminal underworld during the 1980s, by making a fortune in the cocaine trade. In a short dialogue, we learn that the mafia chief for whom “Tony Montana” works is in fact Jewish, but the scene is so surreptitious that very few viewers would be able to remember this fact.
By way of contrast, the callous Bolivian “big boss” is played by a Nordic-looking man, and some of the men who work for him are also played by tall blonde men with blue eyes. The beautiful blonde women, for their part, invariably fall into the arms of the gangsters. The film was directed by Brian de Palma, who obviously belongs to that mafia-style gang which holds sway in Hollywood. We should note that Brian de Palma shows Tony Montana as being in love with his sister. Of course, this is a clear case of projection; incest is, in fact, central to Jewish identity.
In Carlito’s Way (USA, 1994), again by Brian de Palma, the fact that one of the characters is Jewish is more visible. Al Pacino plays the role of a Puerto Rican criminal, whose lawyer has managed to get him out of prison. The lawyer is a Jew, named Kleinfeld, who has gradually adopted the same methods as the gangsters. He uses his gun, deals cocaine, frequents night clubs, eliminates other gangsters, and ends up betraying his friends.
The film Blood Diamond (USA, 2007) gives a good example of how the media goes silent as soon as it comes to addressing Ashkenazi criminality. Indeed, there is just one image in the film showing the role of the Jews in the diamond trade: an orthodox Jew appears on the screen for…half a second, whereas the world diamond industry is entirely in the hands of this community. The viewers will be none the wiser. In his own way, the director, Edward Zwick, is a conjurer.
In the Roger Hanin film, Le Protecteur (France, 1974), we learn that the major international prostitution rings are not run by Jews but by Nazis. Nathalie, an eighteen year old, goes missing in the centre of Paris. To find her, her father, Samuel Malakian – an impoverished Jew – comes up against a white sex slave network run by an aristocrat, the baron Metzger.
Let’s look now at the erotic film, Police des moeurs (1987), directed by “Jean Rougeron”. Séverin, eighteen years old, falls in love with a pimp. Worried by her disappearance, her family alert the vice squad. The investigation leads the police to a network which deals in the trafficking of women, the “Horsh” network. These bastards kidnap girls and sell them to immensely rich foreigners. They are Nazis, Germans, tall with blonde hair and blue eyes. In this regard, we cannot recommend highly enough Hervé Ryssen’s book, The Jewish Mafia, which will convince even the most sceptical, as the sheer weight of evidence presented in this publication is overwhelming. For example, did you know that, since the end of the 1980s, all the ecstasy smugglers arrested practically everywhere in the world held Israeli passports?
In a similar vein, Amistad (USA, 1997), Steven Spielberg’s film on the black slave trade, does not show us the significant role played by Jewish traders in this tragedy, and shifts the entire burden of the disgrace onto Christians instead.
The Israeli organ trafficking scandal came to light in summer 2009. But Hervé Ryssen’s readers know that the scale of this trade goes well beyond the Hebraic state. This illegal organ trade, which is highly characteristic, was the subject of a film, entitled Dirty Pretty Things (Great Britain, 2002). In this film, the cosmopolitan director Stephen Frears practises accusatory inversion. Okwe is an impoverished Nigerian who lives in London. He is an illegal immigrant, has no official papers, and his life is not easy. But he works hard to get himself out this situation. During the day, he works as taxi driver, while at night he works as a receptionist in a London hotel.
It is obvious that strange things go on in this hotel, and Okwe discovers that it in fact serves as a front for an organ trade business, run by his manager, who takes advantage of the fact that the immigrants are in difficulty. In exchange for their kidneys, these poor third-world immigrants can obtain a passport or visa: a kidney for a passport. The operation is carried out by experienced doctors in one of the hotel suites.
Persecuted by the immigration authorities (two white English men – very nasty), Okwe dares not report what he has just discovered. So he will attempt to put an end to the traffic by indirect means with the help of a Turkish cleaning woman, a black prostitute, and a Chinese man who works in a mortuary.
The poor illegal immigrants are victims of blackmail, harassment, rape, murder, whereas the white people, once again, play the role of the bastards. Stephen Frears is a member of the sect, as you have no doubt understood.
In The Matrix (USA, 1999) directed by Larry Wachowski, the human race is entirely governed by a computer programme, which controls all lives and all thoughts. People believe they exist, but in fact they are mere slaves to machines. There remains just one small pocket of human resistance: Zion! The film is riddled with Kabbalistic references. The principal protagonist is Neo. He is “the chosen one”, the mythical liberator of humanity, according to the prophecies. He will come to save “Zion”, as revealed by the “Oracle”.
Humans in the film are depicted as living in a multiethnic society, whereas the Matrix, which attempts to dominate the universe, is portrayed as being exclusively a white man’s domain. Agent Smith, in his suit and tie, is obviously very evil and depraved. Once again, it’s white men who have to shoulder the blame for the true tyrants. For the Matrix does exist “for real”: it made the film.
Let’s have a big round of applause
In François Truffaut’s Le dernier métro (France, 1980), Lucas Steiner, a theatre director forced into hiding in the theatre’s cellar, finally comes out to greet the public when France is liberated. At the end of a performance, he comes onto stage with the actors and is wildly applauded by the goyim in raptures, who recognise the genius of humanity within him.
We find the same image at the end of the Woody Allen film, Deconstructing Harry (USA, 1997). The lead character, a novelist, receives a lengthy round of applause by all the characters around him. Again, the Ashkenazi genius is greeted with a “standing ovation”.
Rollerball (USA, 1975), a Norman Jewison film, is set in 2018, a time when all nations have been abolished and politicians have been replaced by technocrats. The world becomes a leisure society with a game which fascinates the entire planet. Jonathan (James Kahan) is the most popular of these new heroes. The crowd chants his name wildly!
Let’s look again at Barton Fink (USA, 1991), the Cohen brothers film. At the beginning of the film, the young playwright is frantically applauded by the entire audience in a state of rapture: it’s the beginning of a great Hollywood career. This scene can again be found in Jacques Lanzmann’s short novel, Le septième ciel. A certain Moses had the great idea of naming his thoroughbred horse “Long live the Jews” so that the frenzied crowd cheers for them.
In 1988, John Carpenter made They Live (USA, 1988). Thanks to a pair of glasses with special properties, Nada, the protagonist, discovers that a part of the population is made up of aliens who have a perfectly human appearance. They form the elite which governs the world by means of lies and corruption. The glasses also allow him to read subliminal messages contained in the adverts, posted on billboards. These messages order the human beings to submit to the regime. They are everywhere, they control everything, you see nothing! But we now understand the nature of the alien which resides in our televisions.
It’s also worth watching the Barry Levinson comedy, Wag the Dog (USA, 1997). It’s all going wrong at the White House. Two weeks before the elections, the president is involved in a sex scandal. To divert public attention, the presidential advisor (Robert de Niro), an expert spin-doctor, spreads a rumour about a war, which is completely imaginary. To stage this fake war, he contacts a cinema producer (Dustin Hoffman).
They both divert public attention and fool the entire nation with TV scenes which are entirely fake. An amusing film, in which we can see that the system is now so sure of its power that it can afford to come clean and denounce itself. In any case, as demonstrated by the great Raiders of the Lost Ark (USA, 1980), directed by Steven Spielberg, the power of Yahweh is far too great for us to even think of opposing it.
Mathieu Kassovitz – Olivier Dahan – Quentin Tarantino – Constantin CostaGavras – David Fincher – Richard Donner – Jonathan Kaplan – Robert Guédiguian – Edouard Molinaro – Claude Lelouch- Gérard Oury – Bernard Stora François Luciani – Alexandre Arcady – Claude Berri – Jerry Bruckheimer – Joel et Ethan Cohen – Stephen Frears – Peter Weir – Stanley Kramer – Milos Forman – Otto Preminger – Sydney Pollack – Barry Sonnenfeld – Norman Jewison – Roman Polanski – Louis Malle – Walerian Borowczyk – Pedro Almodovar – Frank Darabont – John Schlesinger – Sydney Lumet – Franklin Schaffner – Joseph Losey – Richard Brooks – Roland Emmerich – Cédric Kahn – Nicolas Ribowski – Renaud Cohen – Gilles Paquet-Brenner – Michel Spinoza – Eric Rochant – Thierry Binisti – Moshé Mizrahi – Rotnain Goupil- Olivier Szulzynger- Pierre Grimblat- Alain Krief – Stéphane Kure – Christophe Gans – Sam Mendes – Todd Haynes – Richard Marquand – Susan Seidelman – James Mangold – Eric Goldberg – Brian Koppelman – Robert Mandel – Roger Hanin – Gérard Pirès – Alain Berberian – Steve Kohen – Edward Zwick – Menahem Golan – Robert Zemeckis – John Frankenheimer – William Friedkin – Melville Shavelson – Jean-Jacques Annaud – Frank Perry – Ben Lewin – Ted Elliot – Suzanne Schiffman – Peter Webber – Woody Allen – Sacha Baron Cohen – Frank Oz – Claude Miller – Jean-Jacques Zilbermann – Cédric Klapisch – Francis Veber – Pierre Aknine – Alain Berliner – Rémi Lange – Gabriel Aghion – Josiane Balasko – Gad Elmaleh – Jacques Lanzmann – Henri Verneuil – Pavel Lounguine – Brian de Palma – Barry Levinson – Steven Spielberg – Larry Wachowski – John Carpenter.