Martin Luther King had a dream. So did Europe’s compassionate and caring Jewish community. After the Second World War, they thought that importing millions of Muslims would give them staunch allies against the White Christians who had persecuted them so unfairly for so long. With Muslim help, they hoped to bring about Eurocide: the death of White Christian Europe and its replacement by a rainbow continent firmly under Jewish control.
This dream of a progressive alliance was still alive in 1995, when the radical Franco-Jewish director Matthieu Kassovitz released a searing indictment of France’s racism and xenophobia:
The film was called La Haine (Hate) and was the story of three young men in one of the wretched housing projects outside Paris, commonly referred to as la banlieue. The three lads were a north African, a black guy and an eastern European Jew/ … They were cheeky, funny and likable — a gang of what the French call “branleurs”, which is literally translated as “wankers” but really means young guys who mess about. The core of the story was, however, that they were also full of rage — against the police, but ultimately against a society that has pushed them to the margins. Much of the film’s comedy as well as its social comment comes from the gang’s misadventures in central Paris, a world as distant and alien to them as America.
The plot is relatively simple, centring on the fact that Vinz, the angry young Jew, has got hold of a gun stolen from the police. He threatens to use it against them if his mate Abdel dies from his injuries after being held in police custody. When Abdel does die, Vinz’s moment for revenge comes when he has the chance to kill a neo-Nazi skinhead. He backs away, however, and finally hands the gun over to Hubert, the black boxer who is the most philosophical of the gang and totally against violence. The film ends with Vinz being accidentally shot dead by a policeman, who is taunting him with a gun. The shocking and powerful final scene is a standoff between Hubert and cop pointing guns at each other; the scene is framed by the traumatised face of Saïd, the north African member of the trio, and a voiceover saying that this is the “story of a society falling apart”. (La Haine 20 years on: what has changed?, The Guardian, 3rd May 2015)