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Sep 24, 2004
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An Iranian Series about Jews and Hollywood Cinema Excerpts

#103 | 13:45
Source: Al-Alam Network (Iran)

The Islamic Republic of Iran Broadcasting's channel directed at the US, Jaam-E-Jam 2, and the Iranian channel directed at the Arab world, Al-Alam, recently broadcast an Iranian series dealing with the Jews and the film industry. In Al-Alam TV, the series was dubbed in Arabic. Following are excerpts from different episodes of the series as they were broadcast by Al-'Alam TV through April 2004. To get a broadcast-quality mpeg-2 version of this video, please contact MEMRI

Narrator:The most important film produced under Zionist guidance in the 60's was called Operation Eichmann. This film completed the false myth about the murder of six million Jews at the hands of the Nazis. But the film producers did not mention his provocative trial on December 17, 1961.

This is because Eichmann said about the German Jews' expulsion and killing: "I was only carrying out the orders of the Zionists. They asked me to gather the Jews in a specific place in the world, using expulsion or murder. First, their target was Poland, then Madagascar, but in the end they chose the Middle East. If I am guilty of the so-called killing of 6 million Jews then the Zionist leaders are much guiltier than I am. This is because they wanted to silence the world under the pretext that if they had stayed in Germany they would have been killed. Because they don't have a country they are forced to occupy other people's land. And that is what they did."

The Zionist authorities finished the trial quickly to avoid further commotion. They hung Adolf Eichmann in 1962 so the secrets of the collaboration between the Zionists and the Nazis would remain hidden.

The plot of the film [Funny Girl] served to introduce the ugly Jewish actress Barbra Streisand, who played the role of Fanny Brice.

Films portraying a positive image of the Jews appeared in early 80's. Among those were the third version of The Jazz Singer, The Shout from 1981 directed by Valentino, and the film Tootsie, in 1982, directed by Sydney Pollack.

The movie Yentel, which Barbra Streisand starred in and produced in 1983, dealt with the Zionists' wish to benefit from feminism, the new women's movement, as time goes by. Awarding Driving Miss Daisy the Oscar for best picture in 1989 strengthened this conservative Jewish trend. The film Driving Miss Daisy tells of an old Jewish woman and her black driver. In the beginning, the old woman hates the driver, but in the end she establishes a friendly relationship with him.

Dr. Muhammad Madad Bour, University Professor: Modern music was invented by the Christians but the Jews took control over its industry. Cinema was invented by the Christians ? Edison or the French Lormier brothers ? but the Jews took control over its industry. The same goes for painting. Modern painting was invented by the Christians. The Christian message is very clear but the Jews control all the exhibitions. The art trade market is in their hands. Note that generally they have never been creative. Note the factories, there are no Jews there. But on the other hand, we see that most management and service companies in the West and most banks are held by Jews.

They wrote the human rights laws so they can do what ever they wish. They worked to destroy the holy places, reject religion, religious schools of thought, and morale. They suggested in their protocols that people's beliefs should be destroyed, so the people would have no faith and then they would become their captives and putty in their hands.

One of their short-term plans is establishing this Zionist state. In fact, the Israeli plan is a short-term one within the greater plan - globalization. First, they say globalization, and then they will begin to Judaize the world. Today, there is competition in trade and economic globalization without taking justice into account.

Those who struggle against this plan are the non?Jews. The Jews defend globalization, from which the poor suffer and so they resist it.

Nader Taleb Zadeh, Producer: In the 20th Century, we witnessed the establishment of a superpower, two, or more. Cinema had to make progress in a way that benefited them. So, it was only natural that cinema should fall in the hands of the World Zionists, imperialism, and the very wealthy, who are mostly Jews and of course Zionists. Today, using cinema, one can infiltrate all homes. Using cinema, one can enslave many of the skills and powers.

Majed Shah Huseini, Critic: Today, many new films dictate the same concepts. One of these methods is presenting religious concepts through cinema, according to the biblical approach, like Satan, Judgment Day, Heaven and Hell. Toady, these concepts appear in many films; I don't want to mention which because I don't want to promote Hollywood films. But it is obvious that many viewers are familiar with many of these films.

A different issue is that their moral perspective is superficial. They spread tolerance and disregard of morality amongst other nations but not among themselves. They know that by doing so they are spreading a plague. They, of course, protect themselves from it, but they have no objection to spreading this plague among others, be the consequences as they may.

Their other position relates to science fiction. They always create imaginary threats to Earth on which we safely live. They speak of alien creatures, occurrences in outer space, and metaphysical catastrophe that will happen and affect our lives. Hollywood cinema, and to a great extent the Jewish companies in Hollywood, are trying very hard, using extraterrestrial threats, to portray a certain image of stability in the world.

In [Independence Day] the first catastrophe occurs in Iraq. Meaning, this force struck the first blow to an Arab Muslim country. Now, America, as a representative of the planet, is required to do something against this threat from outer space. This is how they dictate to the viewer that America is the savior and that it is the only one who must save everyone and the others are unimportant.

Narrator: The Matrix was a meeting point between Hollywood and Jewish Zionist fundamentalism. In using The Matrix, the Wachowski brothers tried to embellish the ugly image of the State of Israel and to introduce the Zionist society as an utopian future society.

The plot for The Matrix is derived from the teachings of Gush Emunim, or the fundamental Zionists. The agents' purpose in The Matrix is to arrest the resistance leader, Morpheus, in order to eliminate the Zionist resistance movement by obtaining the entrance code to its network. In the film The Matrix, Zion is regarded as the only sanctuary and as the center of human resistance in the third millennium. The film indirectly suggests to the viewers that all other beliefs and ideologies are null and void. This is the Zionist racism, which wants everything for itself and does not conceive of non-Jews as deserving to live and prosper.

This is only a miniscule part of the proof of the political, religious, and biblical aspects of The Matrix. This is the fundamentalist Zionist Jews' way; they try to distribute the idea of biblical justice and to rebuild the Holy Temple by using the traditional extremists. But still there remain people around the world who do not let them lurk in the dark. Likewise, history shows that the peoples don't let oppressors go unpunished.

The Korean War proved that any individual who is not of the American white race is considered by the American rulers and Hollywood producers as of backward culture and as a source of fear for Western society. Hollywood, ever since wealthy Jews created it, has worked to cultivate this perception using its various films. This is because it saw this perception as in total compliance with the Protocols of the Elders of Zion and as a guarantee of the Zionist victory. Over time, this perception created new sources of fear: beginning with Arabian Bedouin tribes and ending with alien creatures coming from outer space and always landing in American cities. Each time, their death was described in a more fanciful and gleeful way in accordance with the first and ninth protocols: "The best results that can be achieved through our control of non-Jews are obtainable through violence and assassination, not through academic debates, because by nature, truth is with the mighty. We will resist any plot against us and kill mercilessly anyone who turns to armed struggle in an attempt destabilize our country."

The Arabs are portrayed in [Lawrence of Arabia] as inept, stupid, and illogical facing technology and new inventions. This ploy suits the content of the fourteenth protocol regarding the non-Jewish nations: "Non-Jewish nations must not forget that they are worthless and cannot understand the depth of issues. Only we, the Jews, understand political issues. God prepared us for this through the torments our generations have been through."

In the film Lawrence of Arabia, an emphasis is put on one of the Zionist goals written in the first of The Protocols of the Elders of Zion, and that is the role the Zionists and their agents play in sparking riots or revolutions under the slogan of liberty around the world. In this film, Lawrence was sent to the Arabs for that purpose: "Political liberty is only an ideology that has no external existence. But every one of us must know how to derive benefits from this trap so they can draw the masses and thus wipe out the opposing ruling party."

When the Zionists convened their special congress in 1897 in Basel, Switzerland, a group of Czarist Russian policemen set fire to the congress hall. The Jews taking part in the congress fled out of fear of the fire. The policemen collected the documents, lists and protocols of the meeting that were lying on the desks and transferred them to Moscow. They found among these writings what was later called The Protocols of the Elders of Zion. The Protocols were divided into 24 parts and included the satanic Jewish ideas of taking over the world using a Jewish government, after destroying all of Orthodox Russia, Catholic Europe, the Pope's reign, and Islam.

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