It was only a matter of time.
The first sign of this was Quentin Tarantino’s Inglourious Basterds (2009) which was unambiguously a Jewish fantasy revenge film on Germans, an escape valve for savage anti-German feelings among Jews, that had no basis in fact or history.
Then came Machete (2010) which was about Hispanic illegal aliens in the Southwest fighting with and triumphing over corrupt American nativists and border vigilantes. That one struck a little closer to home.
Briefly going outside of this particular anti-White sub-genre, the negro Idris Elba was recently cast as Heimdall, a Germanic god, in the new Thor (2011) movie which is now in theaters. The CofCC has organized a Thor boycott. TheRoot.com snarkly described Idris Elba as “our favorite Nordic god.”
In case you think Hollywood only picks on Nazis and White pagans, the actor Jim Caviezel who played Jesus in Passion of the Christ (2004) recently told the Daily Mail that Hollywood has blacklisted him and destroyed his career for having the audacity to play the Savior in one of the most fervently Christian nations in the world.
Mel Gibson – who went outlaw – is the most hated man in Hollywood on account of his “anti-Semitism.” He reportedly told Caviezel: “You’ll never work in this town again.” Caviezel responded, “We all have to embrace our crosses.”
Hollywood and White People
It has been obvious to us for the longest time that Hollywood has racial scores to settle with a number of different White groups: Christians, Germans, pro-Whites, and White males in general who are almost always depicted in Hollywood movies as buffoons, Jack Black in Tropic Thunder (2008), or as villains, Agent Smith in The Matrix (1999).
Who can forget Clint Eastwood’s martyrdom for diversity, multiculturalism, and tolerance in Gran Torino (2009)? The sheer racial and ideological antipathy toward White people in Hollywood movies is now so overwhelming that I all but quit watching them a long time ago – perhaps a mistake, considering the focus of this blog.
All this goes hand in glove with Hollywood’s relentless promotion of non-Whites, especially blacks, as geniuses, heroes, and positive role models: Will Smith saving the world in Independence Day (1996), Morgan Freeman playing God in Bruce Almighty (2003), or more recently, the utterly implausible Danny Glover as President of the United States in 2012 (2009)
There is so much material to work with here that someone could do a Black Run America website on nothing but anti-White racial stereotypes and clichés in Hollywood movies. Hint: we need more collaborators.
You could start with Guess Who Is Coming To Dinner? (1967), a “groundbreaking” film about interracial marriage starring Sidney Poitier and Katharine Hepbern, and track the evolution of the portrayal of blacks down to Will Smith in The Legend of Bagger Vance (2000), where he plays the quintessential “magic negro.”
SBPDL.com has a great new book coming out on Friday called “Hollywood in Blackface” that explores the depiction of blacks in movies in Black Run America. It will be a great addition to your racial library. Buy a copy.
Hollywood and The South
Of all the White groups that Hollywood dislikes, it is clear that White Southerners have long held a special place in their heart. We have always been one of their favorite targets for demonization.
In A Time to Kill (1996), Matthew McConaughey, Sandra Bullock, and Samuel Jackson star in a film about the fictional gang rape of a 10 year old black girl by “white supremacists” in Mississippi.
In Mississippi Burning (1988), William Dafoe and Gene Hackman play heroic federal agents from the Justice Department who descend on Mississippi to fight “hate” and “racism” and the Ku Klux Klan.
In Cold Mountain (2003), Jude Law and Nicole Kidman starred in a film that demonized the Confederate Home Guard.
In Glory (1989), Matthew Broderick led Denzel Washington and Morgan Freeman in the 54th Massachusetts Volunteer Infantry in the War Between the States, where the Confederates kill Broderick and Washington and bury them together in a mass grave.
I will never forget Hollywood’s demonization of Gods and Generals (2003) which, virtually alone among films, depicted the Confederacy in a positive light and Robert E. Lee and Stonewall Jackson as heroes.
Compare the treatment of Gods and Generals and The Passion of the Christ to the cooing over Brokeback Mountain (2005), which was about gay cowboys in Wyoming, or The Blind Side (2009), Sandra Bullock’s cinematic return to Mississippi where she adopts that negro football player, or either with Hancock (2008), Will Smith’s casting disaster as a superhero.
It is only in hindsight that all these films, which are seemingly unconnected, can be seen and interpreted in light of a common pattern – Black Run America – that reflects the anti-White, anti-Christian, anti-Southern zeitgeist of our age.
We live in a world where someone like Morris Dees who makes $304,000 a year, one of the highest salaries in Alabama, is invited to speak at universities to lecture others about the “white privilege” of people who live in trailer parks and support their families with food stamps.
Meanwhile, Jared Taylor of American Renaissance cannot rent a hotel conference room in Charlotte, North Carolina. Yet American academia is convinced that our society is so hobbled by “white privilege” and “institutional racism” that black people (like Will Smith, Denzel Washington, Morgan Freeman, President Barack Obama, etc.) cannot possibly succeed in such a racist environment.
In the course of writing this article, I have drifted far off course, but I felt the historical context of this film was needed.
In many ways, Django Unchained (2012) is the culmination of the American imagination in Black Run America: an anti-White, Hollywood produced racial revenge movie distributed by the Weinstein Brothers (I don’t even have to say it) and set in the American South where a runaway slave becomes a bounty hunter who murders evil plantation owners.
The racial situation in America has swung so far to the other side of the pendulum that Hollywood is now making racially inflammatory movies to cater to the bloodlust in an emerging market of anti-White racial snuff films.
Needless to say, if the racial roles were reversed here, the American Left and the SPLC would be screaming bloody murder about “racism” and “hatred” and “stereotypes,” but because everyone knows that Germans and White Southerners are at the bottom of the racial totem pole in Black Run America, you can get away with making a movie about murdering White Southerners as White Southerners, or Germans as Germans, and make yourself a huge fortune off of it.
There isn’t a “racial double standard” here: it is a single standard that blacks and Jews are noble beings and Southerners and Germans are savage beasts who occupy another rung of the racial ladder somewhere below them.
Shabbos goy, Quentin Tarantino says:
“The title character Django is a freed slave, who under the tutelage of a German bounty hunter (Christoph Waltz) becomes a badass bounty hunter himself and after assisting Waltz on taking down some bad guys for profit, is in turn assisted by Waltz in tracking down his slave wife and liberating her from an evil plantation owner. And that doesn’t even half begin to cover it! This film deals with racism as I’ve rarely seen it handled in a Hollywood film. While it’s 100 percent pure popcorn and revenge flick, it is pure genius in the way it takes on the evil slave owning south. Think of what he did with the Nazis in Inglourious and you’ll get a sense of what he’s doing with slave owners and slave overseers in this one. It’s violent and funny and full of great Tarantino monologues and shoot outs (and slave rapes and slave tortures) and the center piece of the script is this fantastic relationship between Django and his Obi-Wan Waltz and it all just f*cking works in the way only Tarantino makes it work.”
It “f*cking works,” man.
No one in Hollywood has ever taken on “racism” in Nazi Germany or the “evil” American South before. The Pianist? Schindler’s List? Defiance?
We are breaking new ground here: the ground being that playing the Son of God in an American movie ruins your career, but hatred and demonization of White people, Christians, Germans and Southerners is now so mainstream in Hollywood that you have to murder us now (or eat us) to be edgy and take it to the next level.
Freddy Goldstein writes at YouTube:
“This is truly? a wet dream for me. All neo-nazi white supremacists deserve far worse than this. But this is ine of the greatest scenes ever in one of the best films of all time. Hail Bear!”
The Thor boycott was a good idea. We need to take it to the next level and boycott all Hollywood movies though.