Jews and Hollywood

Thoughts on Race, Biblical Epics, and Early Jewish History

One of many hypocrisies indulged in by organized Jewry and the growing legion of White ethno-masochistic Social Justice Warriors (SJWs) concerns the racial element in motion picture casting. A fairly recent example has been the months of criticism preceding the release of Ridley Scott’s Exodus: Gods and Kings, with most critiques revolving around the theme that the movie is unfaithful to historical racial profiles. Without getting into the debate over which ethnicity built the pyramids, there are probably more than a few aesthetic incongruities in the casting of Moses (if he actually existed) and Ramses II. Welsh-born Christian Bale, cast as Moses, doesn’t look even faintly Semitic. Nor does Joel Edgerton resemble in any way a North African, or Middle Easterner of any description. The rest of the major roles are populated by Anglo-Saxon actors like Sigourney Weaver and Aaron Paul.

Much to the annoyance of hand-wringing liberal commentators, Black actors feature mainly in the movie as slaves. The Sydney Morning Herald even noted that infuriated SJWs had taken to Twitter in droves to protest at the set, “particularly the nose on the Great Sphinx of Giza, saying it gives the statue a European profile.” Because of these and other creative decisions, criticism had been brewing since the cast was first announced, eventually forcing Scott to address his choices in an interview with Yahoo! Australia:

Egypt was—as it is now—a confluence of cultures, as a result of being a crossroads geographically between Africa, the Middle East, and Europe. We cast major actors from different ethnicities to reflect this diversity of culture, from Iranians to Spaniards to Arabs. There are many different theories about the ethnicity of the Egyptian people, and we had a lot of discussions about how to best represent the culture.

While I view the ethnicity of the ancient Egyptians as being of token importance in the modern age and of little value in contemporary debates about race, I do take issue with critiques of the casting of Black actors as slaves. Giving the Exodus tale even some benefit of the doubt, and assuming that there was in fact a clash between the leadership of a proto-Jewish population and the Egyptians during the New Kingdom (c.1560–1070 B.C.), a careful look at the historical record suggests that Black slaves (coming mostly from Nubia) were a common feature of the Egyptian landscape. Indeed, the era of Ramses II has been described as the

most flourishing period of Egyptian slavery. The imperial Egyptian state controlled large parts of what now constitutes Israel, the Sinai, Syria, and the northern Sudan. … Nubia was forced to contribute slaves, and entire lists of captured Nubians from this period have been found. Although certain numbers given in the inscriptions are exceedingly high and might be exaggerations, it is obvious that tens of thousands of slaves were imported to Egypt during the great wars of expansion.[1]

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Other People’s Money — The Film

“Indeed, from the very beginnings of the industry until the present, it is impossible to ignore the influence of Jews on the movie business or to overlook the importance of a Jewish consciousness in American films.”
—Lester D. Friedman

“The Jewish involvement in motion pictures is more than a success story; it is the basis of the disproportionate influence that Jews have had in shaping American popular culture.”
—Steven Silbiger

“The way Steven Spielberg sees the world has become the way the world is communicated back to us every day.”
—Stephen Schiff

(See Edmund Connelly, “Understanding Hollywood, Part I: Hollywood’s Jewish Identity

First, the argument: Hollywood, which is and always has been controlled by Jews, uses the medium of film to mask the vast power Jews have over the finances of America — and much of the rest of the world. In particular, Hollywood makes every effort to whitewash the reality of massive Jewish malfeasance in matters financial. This has been one of my major themes on TOO. See, for example, here, here, here, and here.  As you will read, I have documented this pattern and will supplement it with an extensive treatment of the 1991 film Other People’s Money, which gave us a command performance by the diminutive Danny DeVito.

The timing of this film is critical, for it came after a decade of highly publicized Wall Street deals, many of questionable legality or blatant illegality. When we consider the sad spectacle of these scandals of the 1980s, what we find is that there is no doubt about the identity of the vast majority of culprits — at least for those with eyes to see it.

Two writers who had both the eyes to see it and the talent to write about it intelligently were Connie Bruck — who is Jewish — and James B. Stewart — who is not. (Intriguingly, the obituary of Stewart’s mother notes that her son James’ “spouse” is one Benjamin Weil, who is Jewish.) Read more

“The Wolf of Wall Street” — the Movie

As we recently saw with my review of Jordan Belfort’s bestseller The Wolf of Wall Street, there are many pronounced Jewish themes in the memoir. Frankly, I’d never noticed the book, but this year I did get the DVD of the film based on the book, and that alerted me.

Begin with this howler: As the diminutive Jewish stock fraudster Jordan Belfort, director Martin Scorsese chose none other than six-foot-tall, (sometimes) blond-haired Leonardo DiCaprio. This has to go down as one of the most egregious miscastings in Hollywood history.

Why did it happen?

I will argue that this is a classic case of Hollywood deceiving the public, and I have plenty of evidence for this.

In the film, at exactly five minutes into the story — just after DiCaprio’s character has snorted cocaine with a hundred dollar bill and done a little trick by making us think “this shit” (cocaine) will make you invincible, when it fact he means the money he is using as a straw — he launches into a speech as he enters his busy trading floor:

See, money doesn’t just buy you a better life — better food, better cars, better pussy — it also makes you a better person. You can give generously to the church, or political party of your choice. Save the fuckin’ spotted owl with money.  [emphasis added]

“To the church.” In his memoir from which the film springs, Belfort is refreshingly forthright that he is Jewish — and that all but one close associate is Jewish — as are the majority of his traders. Now in the film — which “happened” to open on Christmas Day 2013 — we are informed that rich people like DiCaprio’s Belfort can give “to the church,” not synagogue or ADL or Jewish think tank. It is this kind of subtle deception that would, in my view, prevent the vast, vast majority of Gentile viewers from understanding that these financial criminals are Jewish. Read more

Eye on Hollywood: Reel Bad Anti-Semites

Originally posted on August 20, 2008.

In my last column, I wrote that the Hollywood depiction of the Holocaust “was the result of a complex narrative full of sudden stops, starts and dead ends.” For instance, immediately after the war, Hollywood was far more interested in something closer to home for American Jews than the Holocaust: anti-Semitism.

This was addressed forcefully in 1947, when there was obvious coordination in addressing barriers against Jews moving into the American mainstream. First, Laura Hobson, daughter of two Jewish socialist immigrants, wrote “the runaway bestseller” Gentleman’s Agreement, a novel about social anti-Semitism. Not surprisingly, the Jewish-owned New York Times featured a book review which called it “required reading for every thoughtful citizen in this perilous century.”

Within months, a polished film version starring Gregory Peck was released (this film too failed to mention the Holocaust). In addition to taking home Best Picture for that year, it also won Best Supporting Actress and Best Director, along with a slew of nominations. The same year also saw Crossfire, another film about anti-Semitism. 

For a variety of reasons, the theme of anti-Semitism largely disappeared from movie screens after this, emerging only sporadically in films of the late sixties. When it did reappear, it was as a tangential subplot, though still obvious and important. For instance, Woody Allen inserted such a scene into Annie Hall (1977), which a film critic described thus:

The difference between Annie’s background and Alvy’s upbringing is brought into sharp relief in this short but memorable scene juxtaposing a dinner with Annie’s family and a meal chez Singer. The split-screen scene illustrates the huge gulf between the two cultures, both of which are ridiculed. Allen’s comic condemnation of both exaggerated extremes pits the stifling, superficial Halls, who quietly speak about swap meets as they pick at their skimpy meal and sip cocktails, against the vulgar, emotional Singers, who gobble a vast dinner as they argue loudly. Although Alvy may be embarrassed by his uncouth family, he shows even greater disdain of the cold, repressed, bigoted Hall clan. Annie’s brother Duane, played by Christopher Walken, is actually psychotic, and a mean-faced Grammy Hall is blithely described by Annie as “a real Jew hater.”

Then in the 1982 hit Porky’s there is a subplot that has newcomer Brian Schwartz bullied and challenged to a fight by Tim, one of the Porky’s gang. Losing the fight to a Jew, Tim is berated by his father, Hollywood’s stock Southern redneck, who himself picks a fight with teenage Brian. Ashamed, Tim intervenes and beats up his own father, thereby becoming Brian’s friend. Asked to explain his physical prowess, Brian says, “When you’re Jewish, it’s either fight or take shit.” Read more

Eye on Hollywood: Reel Bad WASPs

Originally posted on August 7, 2008

Today the leisure suit of the mid-to-late 1970s is rightly ridiculed. Many things were askew in those years of economic “malaise” and high interest rates. Most importantly for whites, the 1960s cultural revolution had settled into a prolonged assault on the cultural image of whites.

Needless to say, Hollywood was an enthusiastic participant in this assault. An interesting example is the movie Caddyshack, starring Chevy Chase. Caddyshack is doubtless a trivial movie, but it has been heralded as one of the funniest movies of all time, and it continues to be shown endlessly in TV reruns.

Although the point is presumably lost on the vast majority of its audience, the real narrative of the movie is the Jew-as-outsider “comically” assaulting the WASP-as-insider. The setting of Caddyshack is apt, for the private country club represented one of the last bastions of WASP privilege.

Jewish resentment over WASP snobbery toward upwardly mobile Jews continues to rankle among Jews. For example, Jacob Heilbrunn emphasizes this resentment as a key motivator for the neocons who have been so influential in the current Bush administration. The early neocons attempted “to overturn the old order in America …. There were the fancy clubs, the legal and financial firms that saw Jews as interlopers who would soil their proud escutcheons and were to be kept at bay. Smarting with unsurpassed social resentment, the young Jews viewed themselves as liberators, proclaiming a new faith” (p. 28). The same could be said of Jews in Hollywood, doubtless including Harold Ramis, the director and a co-screenwriter of Caddyshack.

The tension in Caddyshack revolved around the way the uncouth Jew played by Rodney Dangerfield upset the elite country club’s leader, played by Ted Knight, creator of the Ted Baxter buffoon from The Mary Tyler Moore Show. In Caddyshack, he reprised the role of a “vain, pompous, dim-witted” WASP. As Judge Smails, Knight was always an easy target. Read more

Anti-White themes in Hollywood movies: Jews as elite outsiders

Hatred and [the] spirit of sacrifice . . . are nourished by the image of enslaved ancestors rather than that of liberated grandchildren. (Illuminations, Walter Benjamin 1968, 262)

I recently came across a very well-done video featuring Edmund Connelly’s TOO article “Reel Bad WASPs,” part of his excellent 8-part “Eye on Hollywood” series. I don’t know who produced the video, but it’s a great example of the effectiveness of this medium for getting out our ideas, with spot-on clips from the movies, and a calm, “just the facts” voice over.

It completely belies the constant refrain of the ADL that the Jews who dominate Hollywood just happen to be Jews — that their Jewish identity is completely irrelevant to American movies.

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Jews, Hollywood, and Gaza: Some Thoughts

A few days ago I noticed the appearance of a truly remarkable full-page ad in the Hollywood Reporter. The ad, which I initially saw as a piece of poorly conceived propaganda, was concocted by the Anti-Defamation League, and called upon world leaders and ‘decent people everywhere’ to make sure that ‘Hamas terrorists’ cannot be rearmed so the ‘people of Gaza and Israel can move toward a more peaceful future.’

My immediate impression was that the ad failed on two levels. The first is the quote from the truly hideous Golda Meir: “We can forgive [them] for killing our children. We cannot forgive them for forcing us to kill their children. We will only have peace with [them] when they love their children more than they hate us.”

Presented in bold, the quote reeks of an ADL desperate to counter the images of slaughtered children that continue to fill our television screens. A couple of important textual and contextual changes have been made to the quote — note the substitution of “the Arabs” from the original quote with the less pejorative “them.” But even more significantly, the original quote was referring to the deaths of sons and daughters on either side — soldiers rather than infants. The ADL has simply adapted the quote contextually in order to fit the current Israeli policy of mass child murder.

Even examining it in its new context, the central message being conveyed is that Israel is being forced to kill Palestinian children, and further, that Israel is distraught at being made to do this. Such a claim is ridiculous given world has seen images of Israelis making the bombing of Gaza’s schools and hospitals into a social occasion complete with snacks, drinks and selfies. Read more