TOB SHEBBE GOYIM HAROG! (Kill the best Gentiles-gentiles are non-Jews!) TALMUD: Sanhedrin 59
“We Jews are the destroyers and we will always be the destroyers. Regardless of what you do, you can never satisfy our desires. We will, therefore, always destroy, because we want our own world.” (from the book YOU GENTILES vom Jewish author Maurice Samuels, page 155)
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Making Whites Feel Guilty
by Hervé Ryssen
“Cosmopolitan” film producers work untiringly to make Europeans feel profoundly guilty for their past, to make them ashamed of what they are. All these incessant “sensitisation” campaigns on topics like “slavery”, “colonialism”, the “looting of the Third World”, “global warming”, “Auschwitz”, etc., have one object – and one object only – and that is to bring about the advent of world government.
In “cosmopolitan” Jewish cinema, psychopaths and villains are invariably depicted as possessing typically Nordic traits, complete with blonde hair and blue eyes. This is not an accident. In The Crimson Rivers (2000), for example, Matthieu Kassovitz shows us dangerous “neo-Nazis” torturing and massacring innocent people.
Six-Pack (1999) is a film by Alain Berberian: a Parisian commissioner of police is anxious to capture a serial killer who has already killed and mutilated five young women. The “bad guys” (the chief of police, the psychopath) are played by Nordics, while the “good guys” (Commissioner Nathan, Inspector Saul), are, once again, are played by very typical Mediterranean-types.
“American” film directors are animated by all these same hatreds. In Panic Room (2001), by David Fincher, three criminals break into a house. The gang leader is a white man, a very frightening, unpredictable, highly nervous person, who ends up with a bullet in the head. The second criminal – another white man – seems very calm, but is, in reality, an extremely dangerous psychopath and “mad-dog killer”. The third, a Negro, is intelligent and humane. None of this is by accident.
See Runaway Jury, by Garry Fleder; The Green Line, by Frank “Darabont”; Fatal Obsession, by Jonathan Kaplan; Ragtime, by Milos Forman; or Barton Fink, by the Cohen Brothers, and you will see that the “bad guys” are systematically depicted as white men, and white men only. In Cop Land (1995), by the extremely sly James “Mangold” (Goldman), the “bad guys” are all white cops, while on the other side of the river, in New York, the “multiracial” police are portrayed with the greatest sympathy.
In the comedy entitled Addams Family Values (1993) the characters whom the audience initially mistakes for the “bad guys” – real villains – are, in fact, very nice (with very black hair), while the “bad guys” are invariably blonde-haired children. The film is by Barry Sonnenfeld.
Mississippi Burning (1988) by Alan Parker, is an attack on the Ku Klux Klan. In a little village in the southern United States, the whites are all bigoted, racially-prejudiced cowards, narrow-minded, evil, and downright contemptible. The women are depicted as intimidated, bullied into submission, dreaming only of escape.
In Alien 3 (1992), a space ship crashes on a planet where the “Company” once built a penitentiary for dangerous criminals: killers, rapists, and psychopaths. The “bad guys” attempting to rape the heroine are, of course, all white, while the “good guy” who rescues her from this terrifying predicament is a huge Negro, the only mentally-balanced person among the prisoners: he’s the boss. This film was also produced by an “alien”: David Fincher.
In the 1960s, Jewish film makers did everything they could to make white people feel guilty. Just watch films like In the Heat of the Night (1967), by Normal Jewison (who won five Oscars for it), The Cardinal (1963), by Otto Preminger or Wild River by Elia Kazan (1960).
In Betrayed (USA, 1989), Constantin Costa-Gavras denounces the paramilitary militia of the American “Extreme Right”: a beautiful young FBI agent, a woman, is ordered to infiltrate them. The main villain, “Gary”, falls quickly in love with her, and reveals his true nature as a dangerous psychopath with blue eyes. The “Right-Wing” militia groups, we learn, are supported by powerful financiers and major political figures!
Harping on this same ridiculous theme of “Fascism in the Service of Big Money” is a characteristic of several other films.
In The Inheritor, by Philippe Labro (France, 1972), the hero (Jean- Paul Belmondo) returns to the USA to inherit an industrial empire. He discovers that his father had been murdered by his father-in-law, the director of an industrial group who is also the financier behind a “neo- Fascist” party. At least that’s what the director – (Jacques Lanzmann) would like to have us to believe…
In A Billion Dollars (France, 1981), a journalist discovers that GT1, a multinational corporation, worked for the Nazis. Since his boss refuses to continue the inquiry, the journalist goes into hiding and article is published by a small local newspaper. The big newspapers, of course, are entirely controlled by “fascists”. The film is by Henri Verneuil (Achod Malakian), who was not a “fascist”… This is what is called “accusatory inversion”, i.e., “Freudian projection”.
Above is an excerpt from: Understanding Jews and Anti Semitism
THE WHITE MAN WAS IN AMERICA WAY BEFORE HE INDIANS.
PROOF: WHITES WERE IN NORTH AMERICA FIRST! 15,000 YEARS AGO – FROM FRANCE!
The Smithonian is most likely run by jews; if not, it’s controlled by jews!
The Egyptians, of course, were ruled by the white Nordic people who lived all over the world. Did the American Indians exterminate the white race?
via email by TL Aug 7, 2016
Irish girls were forced to breed with blacks!
The First Slaves in America were Irish
My-Awakening-David-Duke – on Race
‘White Guilt’ Smashing: New Facts About Slavery in the South
‘White Guilt’ Smashing: Red Man versus White Man-pdf
Lessons to Learn About the Future: