January 16, 2014
Hollywood executive and walking Jew caricature Harvey Weinstein recently announced his plans for a major anti-gun propaganda film:
Harvey Weinstein revealed Wednesday that he is making an anti-gun movie with actress Meryl Streep that is going to make the National Rifle Association “wish they weren’t alive.” During an interview with Howard Stern on his radio show, Weinstein said the new full feature drama will take the NRA “head on.”
Weinstein said the film is not a documentary and will be a “big movie like a ‘Mr. Smith Goes to Washington.’” The Hollywood heavyweight was clear that he wants to scare people enough so that they don’t want to be involved with guns.
Rather than engaging in a rational debate on the issue, the Jew prefers to use the power of mass media to emotionally manipulate Americans and fill them with fear. Weinstein’s film will doubtless feature laughable inaccuracies and over-the-top sentimentality, but that should not give us any comfort. History shows us that heavy-handed Hollywood propaganda has been a very effective tool for the Jews in advancing their agenda.
To illustrate this point, let us consider two Hollywood films that helped bring about the most significant change of the 20th century: the full acceptance of Jews and other non-whites as members of American society.
The first film is Gentleman’s Agreement (1947) which took on the anti-Jewish “prejudice” prevalent in America. Although there were no legal restrictions on Jews at the time, many hotels, businesses and social clubs had policies of Jewish exclusion. In the film a gentile writer pretends to be a Jew in order to uncover the full extent of this pernicious “antisemitism”. The film is full of ridiculous, artificial speeches condemning prejudice, and it presents Jews as completely normal and decent individuals, people just like us except that they go to a synagogue instead of a church. The Jews in the film are shown to be morally flawless, while Whites are shown to be full of irrational bigotry, even those Whites who try their hardest to combat feelings of prejudice. There is even a scene where Jewish actor and on screen “tough guy” John Garfield (born Jacob Garfinkle) roughs up a boorish, drunken antisemite. The message of the film is clear: only idiots and losers are antisemites, while judeophilia is the way of the future.
The second film is Guess Who’s Coming to Dinner (1967), which normalized black-white miscegenation. This film used the same tactic as Gentleman’s Agreement: instead of presenting non-whites as they really are, we are given an idealized black man, acceptable and likeable in every way, different from us only in the color of his skin. Of course this does not come remotely close to the truth about the Negro race, as is obvious to anyone who has driven through a black neighborhood. But in our modern world of mass media consumption, the representation of reality seen in TV and movies overpowers our own personal experiences. Guess Who’s Coming to Dinner is one of many instances of the “perfect black man” character, a media illusion that was absolutely essential to bringing about the full acceptance of blacks.
With all of this in mind, it is easy to imagine how effective Weinstein’s anti-gun film could be. While it may be unthinkable today that Americans would give up their guns, 70 years ago it was equally unthinkable that miscegenation would be acceptable, and now we live in a world where Negro pimps can openly brag about defiling white women.
When the Jewish media attacks an issue with full force, Whites have shown themselves completely unable to resist. Unless we organize as Whites and destroy Jewish power, Weinstein and his kinsmen will take our guns and everything else we hold dear.