Hollywood And Zion, Karl K. Karloff

Hollywood And Zion

 

By: Karl K. Karloff

 

ratatouilleWhilst many were appalled when one Mel Gibson made what seems on the surface to be anti-Semitic remarks regarding the hold the Jewish community has over the media, a hold I might add that though internationally steadfast is most especially noticed in America, it remains, for better or for worse, a statement that is difficult to rebuke.  In fact, all one need do is visit www.abovetopsecret.com, and one will clearly see how much pull the Jewish community has in the media.  Former NBC Universal Chief Executive and current head of CNN Wordlwide Jeff Zucker?  Jew!  News Corp. President Peter Chernin?  Jew!   Paramount Pictures Chairman Brad Grey?  Jew!  Walt Disney Co. Chief Executive Robert Iger?  Jew!  Steven Spielberg?  Jew!  The list goes on.  Now, I’m not saying that this is a bad thing.  Schindler’s List was a great movie after all, and the commanding fist that the Jewish community has over Hollywood has squeezed out some quality films, such as;Deuce Bigalow: Male Gigolo, Howard the Duck, Superman IV: The Quest For Peace, and I Know Who Killed Me (though with a production as amazing as Battlefield Earth, Jews might want to stay on the look out for Scientologists who may very well surpass the standing of the Jews in Hollywood some day).  But heavy handed messages like those delivered in Schindler’s List and Deuce Bigalow: Male Gigolo, are aimed at adults; thinking, reasoning, mature adults who can make up their own minds on such serious subjects as the Holocaust and human trafficking.  It seems though that the Jewish community in Hollywood is using the authority they carry in Hollywood as a propaganda machine, and its guns are not aimed at mature adults, but impressionable children!  I speak of course of the film animated children’s film Ratatouille, whose heavy Zionist overtones portray gentiles as thoughtless, evil beasts hell bent on killing Jews, and suggests that they be controlled as though they were puppets by what the film portrays as the more reasonable Jewish community.  How is a movie about a rat turned would-be chef promoting Zionist ideals you ask?  Prepare yourself for a harsh truth and realize now that the Jewish propaganda machine that is Hollywood has not contented itself to simply handing out gold statues to films about the Holocaust, but that it is reaching into the very cradles that hold our children that they might raise a nation of puppet gentiles to be controls by Zionist overlords!

 

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It is important first to examine the film’s protagonist Remy.  Remy, much like his entire family (or ‘clan’ as the film refers to them), is a rat, and the rats in the film are clearly meant to be representative of the Jewish community in Europe.  And how do we connect rats to the Jewish community of Europe?  One need look no further than the classic German film Der Evige Yude, or as translated in English, The Eternal Jew.  In this seminal film of German cinema, there is a scene where a large group of rats are emerging from sewers, and this scene is juxtaposed by a scene where a large pack of Jewish people are bustling about a Polish city, the inference being that Jews are like rats.  This is a rhetoric that was commonly used by the Nazis during WWII.  Josef Goebbels for example, said thatman “must defend himself against bedbugs and rats– against vermin.”  He was of course speaking in response to the Jewish question at the time.  Clearly the Jewish propaganda machine that is Hollywood has adopted, in this instance, the rhetoric of the Jewish community’s harshest opponent in order to create sympathy for their plight.  And to further the correlation between rats and Jews, the film makers took the liberty to add large hook noses to each rat.  Though rats, like mice and all other rodents, have extremely small (though potent) noses, the illustrated rats in this film have large hook noses that are in no way representative of the naturally small nose that is typically seen on a rodent.  Again the Jewish propaganda machine here indulges in the hateful stereotypes of its most brutal enemy to create sympathy for their plight.   And Jewish names like Remy and Emile are tagged upon each of the rats, whilst Remy’s father is a clan leader, much like Jacob or Moses, heroes from the Jewish Torah (the Torah is a Bible that doesn’t have the New Testament in it, making it not much of a Bible, and it is written in Hebrew or Yiddish or something, a far cry from the proper English is was originally written in! ).  If such parallels aren’t enough to convince the reader that the rats are meant to portray Jews, then perhaps the reader need also consider the fact that not only did the rats live in a colony, or tribe, much like the 12 tribes of Israel, but that they also took part in a mass exodus through the reeds, much like the Jews traverse through the Reed Sea (or in some translations the Red Sea).  The parallels are as clear as an unmuddied lake.

 

RatatouilleTowerThe film of course takes place in France, the center of the Nazi occupation in WWII, and many of the humans are meant to resemble Nazi sympathizers.  There is a scene, for example, when an elderly lady takes to shooting rats with a shot gun, and unsatisfied with the results aims to poison them with gas, shades of the infamous gas chambers found at the Auschwitz camp!  And she of course puts on a gas mask, resembling a Nazi soldier prepared for chemical warfare, and protecting herself, as Nazi soldiers had to, from the gases that stole the life away from their Jewish captives.  And should references to the gas chambers not be enough for the casual viewer to connect the plight of the rats in this film to the plight of the Jews in WWII, then one need look no further than the kitchen scene in which Remy is almost caught in an oven and on three other occasions must escape flames to keep his wretched life, a series of near catastrophes that clearly parallel the iniquitous and notorious crematoriums of Auschwitz that destroyed the remains of lifeless Jewish bodies.  Indeed, when Remy barely escapes from a closing oven door the viewer cannot help but be reminded of the gruesome ovens that have peopled countless Oscar winning documentaries about the Holocaust.  All of this is accented nicely by the antagonist who shouts out: “Welcome to hell!” in the midst of the scene!

 

rattrapsAs for the antagonistic relationship between Jews and gentiles, or as the films shows us, rats and humans, one need look no further than Skinner, the antagonist who aims to expose the rat named Remy and destroy his livelihood.  The character is no doubt named after B. F. Skinner who argued that an “organism behaves as it does because of its current structure, but most of this is out of reach of introspection” and that at a given “moment we must content ourselves… with a person’s genetic and environment histories”.  In the context of WWII and the horrors of the Holocaust, this particularly applicable, as the organisms that are human beings behaved appropriately to their wartime settings by adopting the anti-Semitic views of Nazi occupiers, and this was of course done without introspection on behalf of those who happily accommodated the Nazi agenda in WWII.  It is this very behaviour that is exuded by the elderly lady who attempts to gas a tribe of rats, and the African chef named Mustafa who blurts out the phrase “very bad Jew Jew” when the large nosed Linguini attempts to make a motivational speech to his kitchen staff.  Likewise, when the blonde-haired, blue-eyed Arian caricature Horst (named no doubt after Horst Wessel who wrote a classic Nazi anthem) decides he is going to walk out on Linguini and his Jewish rat, creating structure of intolerance towards Jews, the rest of the kitchen staff follow suit without the least bit of introspection (save of course the love interest of the man who is a puppet to the Jews).  Even Linguini, who acts as a puppet to the Jew Remy, endorses anti-Semitic ideals when, after an argument with the rat-Jew hybrid Remy, he shouts out: “Don’t come back, or I’ll treat you the way restaurants are supposed to treat pests”, clearly falling in line with the anti-Semitic social structure of Nazi Germany.  And nothing illustrates the Skinnerian adoption of the Nazi’s anti-Semitic structure more than the store window with the corpses of little dead rat-Jews, with the tiny little vertebrae of their rat sized necks smashed beneath the weight of a mouse trap.

 

Linguini-RatatouilleOn the Jewish side of the film there is a plethora of Zionist rhetoric.  Remy’s father, for example, doesn’t approve of Remy walking upright because it is too human!  Much like eating pork is too gentile-ish!  And as for adopting human/gentile friends, Remy’s father orders Remy to stay “away from the humans”, or gentiles as the case may be, because “it’s dangerous.”  Of course the only human friend Remy can find is one who shares traits with the Jews: a big nosed human named Linguini who allows himself to be manipulated and quite literally pulled about like a puppet by his hair by the Jew-rat Remy.  But this friendship with a gentile is not well received by Remy’s father who asks him: “What is more important than family?”  This is of course washed down with Zionist rhetoric such as: “The world we live in belongs to the enemy”, and “We look out for our own kind [because]… when all is said and done, we’re all we got”, closing with the phrase: “You can’t change nature.”  Clearly there is no middle ground between gentiles and Jews as far as Remy’s Zionist father can see.

 

joseph-mengeleAt the film’s conclusion there is a balance struck.  The rats are in charge of everything and live in a small insular world unto themselves, not entirely unlike Israel (without the wars), and the gentile puppets prepare their food for them and do as they are told.  And if this wasn’t enough Zionist propaganda for one to stomach, with such brutal portrayals of gentiles, then the bonus features on the DVD would more than fill one’s gullet.  Within the extra features is a short film that attempts to convince gentiles that the rats who seek to control them are their friends.  Its speaks to how rats have medical experiments carried out on them, calling upon the memory of the infamous Dr. Josef Mengele (yes, he was a gentile, but one gentile does not an entire race define!), and then goes onto say how the Jews (or rats rather) were kicked out of Europe and headed to the new world, making sure to note that the ‘rats’ settled in places like New York (one of the most concentrated Jewish populations outside of Israel).  The short claims to be speaking out on behalf of Jews (or rather oppressed rats) “who don’t the access to media”.  Ha!  As if the Jewish community doesn’t have access to the media.  They are the media!  And the Zionist rhetoric continues as the short makes sure to note that one pair of rats can have 15,000 descendants inside of a year, which “is good because the world is out to get us.”  There is even a reference to Fransois Truffaut, a Jewish bastard sired illegitimately by a Jewish dentist, who happened also to be an influential film critic in France!  Oh the far reaching hand of the Jewish media.  Even the film critics are locked into the Zionist agenda!  The short even pokes fun at the anti-Semitic reputation of Disney’s founder: Walt Disney, by claiming that the views on this video are not the views of Walt Disney, who, via the closing scroll of words proclaims posthumously that Jews are, or in the metaphor, rats, “dirty disgusting creatures”.

 

         

curiousgeorgeYou may ask yourself: “Why would a company formed by such a notable anti-Semite as Walt Disney make a film that favours Zionist ideologies?”  That is a good question, since Walt Disney is the one, after all, who portrayed a stereotypical Jewish peddler as a wolf in the famous film Three Little Pigs, but let’s face it, Walt Disney would be turning over in his grave if he knew what had become of his company since his death.  Jew after Jew has paraded through the company as president: Michael Eisner, Jeffrey Katzenberg, and of course most recently Robert Iger.  And each has tried to use their influence to turn out Zionist propaganda to be spoon fed to our gentile toddlers, to make them feel guilty for crimes they did not even commit!  And this is nothing new.  No!  Far from it.  Jews have been trying to influence out children for decades!  Dr. Seuss was merely a pen name meant to disguise the Jewish ancestry that is all too apparent in in the author’s given name: Theodor Seuss Geisel!  And the couple Hans Augusto Rey and Margret Rey, famous for the lovable, Zionist character Curious George, we both Jews!

If the Jews want to maintain control over Hollywood, they may want to convert to Scientology, unless they can make movies better than Battlefield Earth.

If the Jews want to maintain control over Hollywood, they may want to convert to Scientology, unless they can make movies better than Battlefield Earth.

I say let us stop the Zionist influence from permeating the cribs of our infants, and manipulating the minds of our toddlers.  Let’s leave Zionist films like Ratatouille by the way side and allow our children to grow up without having to feel the guilt the Jewish media tries to push onto them for being born outside of one particular tribe of the world.  Let’s pull the works of Pixar and Zionist writers like Dr. Seuss and Han Augusto and Margret Rey from the shelves of out kindergarten classrooms and clear their minds of this poisonous, Zionist, propaganda!  Let’s watch, instead, Battlefield Earth, or Mission Impossible III, and turn our moderately sized noses away from this rubbish that is Zion!

 

Rambler About Rambler

Jason John Horn is a writer and critic who recently completed his Master's in English Literature at the University of Windsor. He has composed a play, a novella and a number of short stories and satirical essays.

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