The Campaign for
Radical Truth in History
Reviewed
by Michael A. Hoffman II
Hollywood's
remake of the 1932 horror classic, "The Mummy" is a racist
masterpiece. How is it possible
that Hollywood, whose bosom buddy is neo-Bolshevik Bill Clinton and whose mania
is political correctness, could make a blockbuster film that is a consummate
example of bigotry?
The
answer may be found in that queer hybrid, Aryan Zionism, wherein the white man
is allowed to lord it over the colored man so long as the coloreds are political,
religious or national enemies of the Zionists.
As
we all know, the Israelis are at war with--what's his name?--oh, yes, Ahab the
A-rab, and in the service of that cause the white man gets to be a man once
again (if only until the A-rabs are permanently and totally licked).
Toward
that end, the crude stereotypes of bazaar hagglers and towel heads versus
handsome, noble English and American Sir Lancelots, have been revived in the
1999 version of "The Mummy." It is a white man (Brendan Fraser) who
saves the day. Even feminism is shelved in favor of the traditional damsel in
distress.
Not
only the Egyptian priest Imhotep is reanimated here, but also the freewheeling
days when whitey was king: "The Mummy" is immensely entertaining
Saturday afternoon fare right out of the long dead cinema of white supremacy.
But
this revival is nothing for white nationalists to celebrate, because it is
entirely beholden to Jewish fortunes and dictates. One perceives a nearly
invisible tether fastened to our white hero, revealing his puppet status as a
slave to the Jewish agenda.
In
"The Mummy" individual Arabs are filthy, greedy, slimey pigs. The
Arab masses are mindless, murderous zombies who chant the name Imhotep--though
it might as well be Khomeni.
When
a frightened, fez-wearing lackey is attacked by the fearsome Mummy, he pulls
out from under his shirt an ecumenical conglomeration of religious amulets, in
order to pacify the fiend. First he holds aloft a Christian cross, but that
fails to halt the creature; then a Muslim Crescent, which proves just as
impotent; next a Buddhist charm--yet still the Mummy continues to march
menacingly toward him. Only when the Jewish Star of David is brandished by the
man, does the Mummy miraculously halt and spare him.
As
testimony to their low opinion of the intelligence of this movie's audience,
the makers of "The Mummy" conclude the film with a Bedouin horseman
blessing the Muslim-killing white saviors in the name of Allah, an absurdity
that borders on the blasphemous.
"The
Mummy" earned $44.6 million in its opening weekend. It was made by
Universal Studios, whose President and Chief Operating Officer is Ron Meyer.
Universal is owned, in turn, by Seagram, whose CEO is Edgar Bronfman Jr.
Bronfman's father runs the World Jewish Congress.
In
a western media agog over "Serbian xenophobia," yet another rather
unsubtle example of Jewish xenophobia parades its animatronic special effects
across the theatre screens of the American heartland, where popcorn-crunching
necropolitans will revel in the guilty pleasures this film accords them, i.e.
some hearty belly laughs at the expense of colored people.
Afterwards,
the schizoid audience will inevitably parade back to their corporate domains
and schoolrooms and faithfully resume their ADL-written racial sensitivity
courses, in which they are urged to surrender their jobs and their daughters to
great god Diversity. A more accurate name for Universal's box office smash
would take into account not only the subject matter but its audience, in which
case it would be more aptly titled, "The Dummy."
--Michael A. Hoffman
II. Copyright©1999 Independent History and Research
Hoffman is a former
reporter for the New York bureau of the Associated Press and the author of four
books. He edits "Revisionist History" newsletter.
The
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