Hollywood, Hitler and Hellenism’s Lying Images, Part 2

posted by Dr. Jael Ever @ 2:22 AM
January 15, 2014

All-Quiet-Western-Fronts        In discussing of Germany’s attacks on the film ‘All Quiet on the Western Front,’ in his book, Collaboration, Ben Urwand writes: “On Friday, Dec. 5, 1930, a crowd of Nazis in Berlin seized on an unusual target: the Hollywood movie  recognized in most countries as a document of the horrors of [WW1]. In Germany it was seen as a painful and offensive reenactment of the German defeat.”

Urwand explains that on the first showing of the  film––depicting German troops retreating from brave French soldiers––on December 5, 1930, Nazis purchased 300 tickets and filled the hall with shouts:  “German soldiers had courage. It’s a disgrace that such an insulting film was made in America!”  They then threw stink bombs and scattered mice throughout the theater.

Naturally, the film was shut down. Under the direction of Joseph Goebbels, Nazi Propaganda Minister, these protests continued for six days until the Germany censorship board issued a statement, which Urwand quotes:

“Whereas the French soldiers went to their deaths quietly and bravely, the German soldiers howled and shrieked with fear. The film was not an honest representation of German defeat — of course the public had reacted disapprovingly. Regardless of one’s political affiliation, the picture offended a whole generation of Germans who had suffered through the War.”

After six such days of protest, the film was banned in Germany, with Goebbel exclaiming:  “Victory is ours!  We have forced them to their knees.”
And so they had.  By August, Carl Laemmle, president of Universal Pictures, came to Germany with a heavily-edited burning-books-Naziversion of the film, which Goebbel’s boys accepted on the condition that this was the only version to be shown world-wide.

Such is propaganda control. Urwand writes further: “All this was a result of the Nazis’ actions against ‘All Quiet on the Western Front.’ Throughout the 1930s, the term “collaboration” was used repeatedly to describe dealings that took place in Hollywood. Even studio heads adopted the term. An executive at RKO promised that whenever he made a film involving Germany, he would work ‘in close collaboration’ with the local consul general. A Fox executive said the same.”

Keep in mind that most owners and executives of Hollywood movie studios at that time were Jews! And they justified bowing to Hitler’s wishes because of the profits their studios made from Germany, especially before the war.

By 1932, Laemmle, who was Jewish, realized that Hitler would slaughter “thousands of defenseless Jewish men, women and children.” Working with American officials he helped to get some 300 Jews out of Germany before his death in 1939.  Meanwhile, his studio and others continued to let Hitler decide which Hollywood films could be shown anywhere, and which ones could not.

By making lying idols of tinseled gold, and enslaved themselves to the gold those lies produced, Hollywood’s minions served Hellenism’s purposes. Just as ‘brotherhood of the rose’ depicts, it is almost impossible to extricate oneself from pacts with the Devil’s idol beast, especially ones that walk and talk, as if alive! Revelation 13: 15 warns:  “And he had power to give life unto the image of the beast, that the image of the beast should both speak, and cause that as many as would not worship the image of the beast should be killed.”

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