Hollywood: A Cryptic Message

Three short years ago I was the embodiment of a clueless, indoctrinated American having been raised on movies and television.

From the age of five I retained more knowledge about the world of entertainment than any subject I ever studied at school for the next 40 years. I could name actors, producers, directors and writers associated with thousands of films dating back to the early 1930s and television programs beginning in the 1960s.

Quite literally, I was a walking Hollywood encyclopedia.

Today, it is nothing that I am proud to proclaim. It was a senseless, meaningless occupation that provided no benefit, whatsoever, to my growth as a human being. For nearly a quarter century my engagement in this useless activity kept me complacent, pacified and distracted from the real world.

However, all the time I devoted to increasing my knowledge about the entertainment industry and those that occupy it is, now, beginning to have a positive benefit in the search for truth regarding the deliberate orchestration of America’s downfall. Apparently, Hollywood has been sending the Gentile world a message, although, mired in ambiguity since its inception. And their messages continue to this day.

But first, lets confirm that Hollywood has always been owned and operated by Jews. The Center for Jewish History confirms this fact in the following article:

All That Glitters is not Goldwyn: Early Hollywood Moguls

written by Dr. Kenneth Libo Ph.D and Michael Skakun
made possible by a generous grant from the Smart Family Foundation

Perhaps no weapon in America’s media arsenal has proven as lasting as the Hollywood movie. What began as a low-grade form of entertainment, a somewhat disreputable venture at the turn of the nineteenth century became the most powerful international tool of American cultural power. Will Hays, the president of the original Motion Picture Producers and Distributors of America, called the film industry “the quintessence of what we mean by ‘America’.”

The founders and inventors of this “quintessential America” were almost without exception, immigrant and first-generation Jews. Within a few years of each other, Carl Laemmele built Universal; Adolf Zukor and Jesse Lasky, Paramount; Louis B. Mayer and the Schenks, Metro-Goldwyn-Mayer; and Harry Cohn, Columbia. Together with the Warner Brothers, William Fox, and Samuel Goldwyn, these Moguls, whose lives and times are richly documented in the archives of the American Jewish Historical Society, created a constellation as brilliant as any the firmament could offer.

Who were they? A remarkably similar group –Yiddish-speaking immigrants or their sons, born in grinding poverty in shtetlekh or ghettoes, to pedigree-poor families, headed more often than not by ne’er do-well fathers. The Moguls, the men who invented the majesty and mystery of Hollywood, were a rough-hewn bunch of ambitious men determined to thrust themselves into the epicenter of American life.

Like Sam Goldwyn, famous for his malapropisms, many were semi-literate in English and made vulgarity and crudeness their stock in trade. At a dinner he gave to honor Madame Chiang Kai Shek, the flippant, fast-talking Jack Warner, a frustrated stand-up comedian, turned to the evening’s guest of honor and exclaimed, “Holy cow, I forgot to pick up my laundry.” When Albert Einstein visited his studio, Warner later boasted of telling the greatest scientist since Newton, “You know, I have a theory about relatives, too—don’t hire them.” And the acerbic, oftentimes slashing Harry Cohn once said, “To hell with the critics. They are like eunuchs. They can tell you how to do it but they can’t do it themselves.”

They began arriving in America during the 1880s, penniless boys drifting restlessly from job to job. Cutting their teeth on the ragged, half-world of fashion and retail, they became masters in gauging market swings, acquiring a special feel for detecting public taste. They finally struck it rich with the Nickelodeon, among the first to realize that people who were willing to stand in an arcade for a penny to see a movie, would pay a nickel to sit, as opposed to a quarter for live entertainment. 1903 was the turning point, the year that Carl Laemmle, Adolf Zukor, William Fox, and the Warner brothers came upon this paying invention. Within the next two decades they transformed a practically non-existent industry into one of the largest in America.

As immigrants themselves, the moguls in the making picked up on the dreams and aspirations of other immigrants and the working class, two largely overlapping groups, who would comprise a large portion of the early movie-going audience. By 1910, most of the future moguls were owners of small chains of moving-picture parlors that boasted whitewashed exteriors, uniformed ushers and male vocalists. Clever tacticians with a nose for making money, they understood that real profit lay in the distribution and eventually in production of movies.

Carl Laemmle, who blithely appropriated the name Universal in 1915 from a passing truck advertising a firm called “Universal Pipe Fittings,” was among the first Jewish producers to move to Hollywood. Three years earlier Sam Goldwyn and his brother-in-law Jesse Lasky, founders in Hollywood of the Lasky Feature Picture Company, produced Cecil B. DeMille’s “The Squaw Man,” giving birth to the celluloid Wild West.

These dream peddlers were particularly adept at turning a spark of talent into a blazing star. William Fox took credit for “discovering” Tom Mix and Theda Bara, a Jewish tailor’s daughter from Cincinnati born Theodosia Goodman. Carl Laemmle did the same for Mary Pickford. Harry Cohn’s credits included Ronald Coleman, Jean Arthur, Barbara Stanwyck and Cary Grant. Louis B. Mayer, a super-patriot who appropriated the Fourth of July for his birthday, created stars as diverse as Mickey Rooney, Judy Garland, Hedy Lamarr, Spencer Tracy and Katherine Hepburn. Sam Goldwyn (nee Gelbfisz) exploited the movie potential of Eddie Cantor, Danny Kaye, Gary Cooper and Joel McCrea, while Jack Warner turned such names as Robinson, Bogart, Raft, Garfield, Flynn, Muni and Davis into box-office gold.

The Moguls were uncomfortable with their Jewishness. When they finally gave to Jewish causes, they gave, according to Ben Hecht, as a way of doing penance for not being good Jews. And when they didn’t give, they were often nasty about it. Asked to support the cause of Jewish relief, Harry Cohn, the only mogul to be both bar-mitzvahed and posthumously baptized, said, “Relief for the Jews? How about relief from the Jews.” His other abrasions included defiantly keeping Columbia Pictures open on Yom Kippur.

The Moguls wanted desperately to be regarded as Americans and not as Jews. In a slew of anti-Nazi films Hollywood produced in the thirties and forties, nary a word is mentioned of anti-Semitism abroad. As for anti-Semitism at home, barely a frame was devoted to the subject until the making of “Gentlemen’s Agreement,” produced by one of the few gentile producers in the industry, Darryl Zanuck of Twentieth Century Fox. The birth pangs of Israel elicited little interest, and “Exodus” made its way to the silver screen only when the Jewish state was a foregone conclusion, a fixed reality in the minds of the movie-going public.

Neither scholars nor gentlemen nor very good Jews, the Hollywood Moguls, nevertheless, sounded a fundamental chord of American life. They had their finger on the pulse of Main Street as well as the main chance. Connoisseurs of mass entertainment, they reinvented a nation in the image of their dreams and gave it its most enduring cultural legacy.

Occasionally, I still watch an old movie from the 1930s-40s, or, a television program, but now, it’s on my terms and not theirs. The other day I just happened to be watching TCM (Turner Classic Movies) and one of their original productions aired with funny man Jack Lemmon narrating a short biography on the 6 time Oscar winning producer and director, Billy Wilder.

Wilder’s mini-bio according to Wikipedia: Billy Wilder (June 22, 1906March 27, 2002) was an Austrian-born, JewishAmerican journalist, screenwriter, Academy Award-winning film director and producer, whose career spanned more than 50 years and 60 films. He is regarded as one of the most brilliant and versatile filmmakers of Hollywood’s golden age. Many of Wilder’s films achieved both critical and public acclaim.

Those not familiar with who Billy Wilder was will probably recognize many of his most notable films, which included, Double Indemnity, Sunset Boulevard, Some Like It Hot, The Apartment, Love in the Afternoon and The Lost Weekend, one of the first films that addressed alcoholism and its destructive affects.

My specific reason for mentioning Wilder is due to Lemmon’s thoughts and obvious praise (scripted or not) on the man and his influence in Hollywood, which ultimately changed, forever, America’s moral and ethical code of conduct regarding love, sex and relationships. Actually, Wilder could literally be regarded as the father of the sixties cultural revolution.

Of late, though, Hollywood is becoming more confident and brazen in reference to their Jewishness. Just a few weeks ago former bass man Gene Simmons of the seventies hard rock group, KISS, made the asinine statement on his A&E program Gene Simmons’ Family Jewels, “thats what Gentiles are for.”

Then a few months ago The Roast of William Shatner by Comedy Central was a couple hours of filthy Jewish debauchery. Edited clips of the program were aired on Cable television, which did not include the worst of the offensive material. After seeing this side of an actor that I once greatly admired I have no more respect for this animal and would never spend another dollar to support him.

One of the biggest and most successful films released in the last 20 years was 1996’s Independence Day starring Bill Pullman and Jeff Goldblum. Toward the end of the film as the President’s entourage huddled in the bowels of Area 51 during the final alien attack they formed small prayer groups. Judd Hirsch who played Jeff Goldblum’s father was attempting to calm the nervous group when another man approaches their circle. He’s invited to sit down and proceeds to tell Hirsch’s character that he isn’t Jewish. Hirsch looks at him and says, “well, nobody’s perfect.” That was one of the most blatant ‘in your face’ Jewish supremacist statements I’ve heard from Hollywood. It was a grievous offense to any Gentile that happened to catch the snide remark. Yet, Gentiles keep their silence in fear of being labeled anti-Semitic even when they are publicly slandered and humiliated.

The 1984 sci-fi action film “Terminator” was unlike anything ever seen at the time, which starred recent Hollywood newcomer, Arnold Schwarzenegger (I’ll be back) . Here is Wikipedia’s brief synopsis of the film:

The film takes place in 1984, introducing the concept of a “terminator“, specifically the titular character (Arnold Schwarzenegger), a seemingly unstoppable cyborg assassin who has been sent back from the year 2029 by a race of artificially intelligent computer-controlled machines bent on the extermination of the human race. The Terminator’s mission is to kill Sarah Connor (Linda Hamilton) whose future son leads a resistance against the machines. A human, Kyle Reese (Michael Biehn), is also sent back from the future to protect her.

I’ve watched this film numerous times, but it was only recently that I realized one of the Reese character dialogs with Sarah Connor may actually have a cryptic message (for the rest of us). They are hunkered down in a parking garage in the car that Reese has just carjacked. While attempting to hotwire the vehicle plus hide from the Terminator he is also frantically trying to explain to Sarah the dire situation that she now finds herself and that unless he can find a solution to protect her from the Terminator all will be lost. This is what he says to Sarah:


Terminator 1984

Terminator 1984

“It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse…and it absolutely will not stop. Ever! Until you are dead.”

I stopped dead in my tracks and I can still hear the pain and anguish in Reese’s character as he is saying the words.

The very uncomfortable reality about this ambiguous statement is that in reference to Jewish-Zionist perpetuated world domination – it’s the truth.

Humanity is dealing with a Terminator, one that cannot be bargained with. These people cannot be reasoned with in any form, or, on any level because the only matter that is relevant to their existence is their “chosen” people. Jewish-Zionists and most likely a great deal of Orthodox Jews adamantly believe that they were placed on the Earth to rule and dominate every other race with no exceptions and no quarter (mercy).

Furthermore, it’s quite obvious that they feel no pity for anyone who is not Jewish. The unabated, tortuous suffering that Israel continues to inflict upon the Palestinians is all the proof one needs to confirm this fact.

Now, the illegal Israeli settlers have inflicted a new twist in torture and oppression upon their Palestinian neighbors by creating homemade rockets which they are firing into schools. Along the past years, Israeli settlers have consistently and regularly attacked Palestinian civilians, kidnapped them, tortured them, killed and mutilated them, burned their olive fields or sawed their trees off.

Just recently, IDF soldiers tortured and murdered a 10-year old boy. The horrendous photo of this poor child shows that his arm was cut off, or, torn off probably while he was still alive. And yet, this corrupt, criminal Neocon (Jewish-Zionist) regime in Washington, D.C. continues to aid these murderous animals in the American people’s name. How can parents in this fallen country continue to teach their children the difference between what is right and what is wrong when murderous criminals run the nation?

What about remorse? It is another foreign word that has no meaning to a Jew or a Zionist. They take no responsibility for their crimes against humanity and no nation, or, ruling entity will hold them accountable. How is this even possible in the modern world? It is the most cruel, insane scenario that the world continues to witness.

Hollywood’s Jewish minions are sending humanity a message:

This Terminator will not stop, ever, until they have enslaved, tortured, raped and murdered every Gentile on the planet.

And they will always come back unless the human race stops them once and for all.


2 thoughts on “Hollywood: A Cryptic Message

  1. Pingback: Baby name meaning and origin for Hedy

  2. So first they are “penniless boys drifting restlessly from job to job.”

    But when the opportunity arises they are “Clever tacticians with a nose for making money”.

    “The Moguls were uncomfortable with their Jewishness. When they finally gave to Jewish causes, they gave, according to Ben Hecht, as a way of doing penance for not being good Jews. And when they didn’t give, they were often nasty about it. Asked to support the cause of Jewish relief, Harry Cohn, the only mogul to be both bar-mitzvahed and posthumously baptized, said, “Relief for the Jews? How about relief from the Jews.””

    That last part is priceless, how candid they were back then!

    “It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse…and it absolutely will not stop. Ever! Until you are dead.”

    Great analogy on that part, very true indeed. Only awareness can enable us to battle such an enemy that is not believed to exist in our midst. If you were to tell someone about the “Jewish” problem, you would be treated as a crazy person just like Reese was when he was being interrogated at the police station.

    Good post! Peace.

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