FROM Understanding the Jews, Understanding Anti-Semitism by Hervé Ryssen:

“Cosmopolitan ” propaganda is always aimed at destroying all local elites, whatever and wherever they are: encouraging the workers to revolt against their employers, the peasants against the lords. All authority is discredited, ancestral traditions are bespattered and ridiculed, and the “bourgeoisie” and “aristocrats” are always depicted in the darkest colours.

The Dead Poets Society was filmed in 1990. The film shows us an elite boarding school in the USA, an old and noble institution intended for the sons of high society. A literature professor upsets the lives of the students and dynamites the “dusty old values” of these “narrow¬ minded Christians”. This film, which invites us to reject traditions and norms, was directed by Peter Weir.

This is also the message of a film called School Ties by Robert Mandel (1992): The main character, “David Greene” joins one of the most prestigious preparatory schools in New England. His athletic and intellectual talents naturally make him the star of the institution in a few weeks. But to be accepted by his wealthy schoolmates, filled with anti-Semitic prejudice, and gain the love of a young girl from a good family, he is compelled to hide his Jewishness… until one day the truth explodes. At this moment, we understand that Christians are truly filthy people.

In the same genre, Marin Karmitz’s film, Blow for Blow (1971) is in the same genre: in a confectionary factory, the workers suffer intolerable and infernal working hours and conditions. A wildcat strike breaks out: the boss, kidnapped, humiliated and intimidated, is forced to capitulate. Like many of his fellow-Jews, Marin Karmitz made the transition from “Far-Left” to “Hard” “Liberal Right ” early in the 21 st century: the only problem now is how to “consolidate” the “multiracial society”.

The aggressiveness of cosmopolitan Jewish directors against the European world finds expression once again in The Servant (1963): a young English aristocrat, full of arrogance, hires a domestic servant in his service. The aristocrat quickly plunges into alcoholism and decadence, while the servant, highly dignified, comes to exercise an increasingly greater domination over his master. This tendency systematically to gravitate towards “ inverted values ” is very typical of the Hebraic mentality. The film is by Joseph Losey, based on a screenplay by Harold Pinter (Nobel Prize for Literature in 2005), who succeeded his fellow-Jew Elfriede Jelink.

The Middle Ages are always depicted in the darkest colours. We are told that the lords were always wicked and cruel: see The War Lord (USA, 1965). In the 11th century, the local lord notices a young peasant girl while out hunting. She is engaged to be married, and just as they are about to celebrate their nuptials, the lord enforces his jus primaenoctis (an invention of French republicans in the 19th century). The film is by Franklin Schaffner.

The producer Rob Cohen manipulates the same story in his way in a “ multicultural ” sense in the film Medieval (USA, 2009): this is the story of a monk, a knight, a samurai, a Zulu, an Arab, a gypsy and a Viking – all in the Middle Ages!

The same contempt for traditional civilization may also be found in amusing cartoons, like Shrek (USA, 2001), set, once again. “Shrek” is a gentle, lovable ogre who lives in a remote forest. He confronts a dreadful dragon and rescues a beautiful princess. The king is a stubborn, ridiculous nabob (which is not in the European tradition at all) who wants to marry the princess, too, but Shrek, who has fallen in love with her, saves her from the coerced match in the cathedral in which the marriage is to be celebrated. The smashing of the stained glass window of the cathedral by the dragon, who forces his way inside, interrupting the forced nuptials, is supposed to be “symbolic”. Directed by Ted Elliott.

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