Disinformation
The Big Hollywood
Lie:
Denying that Jews Control the Film
Business
This essay is reprinted from the April 1, 1994, issue of
New American View, a newsletter edited by Victor Marchetti.
(It is no longer published.) Marchetti served for 14 years with
the CIA, where he rose to be executive assistant to the deputy
director. His book, The CIA and the Cult of Intelligence,
co-authored with John Marks, was the first critical account of the
agency written by an insider. Marchettis presentation at the Ninth
IHR Conference, "Propaganda and Disinformation: How the CIA
Manufactures History," was published in the Fall 1989 Journal of
Historical Review.
When country Singer Dolly Parton told Vogue magazine a couple
of months ago that her idea for a TV series about a country singer
who becomes a gospel singer was turned down by Hollywood, she said
that "everyone's afraid to touch anything that religious because most
of the people out here are Jewish, and it's a frightening thing for
them to promote Christianity." Truer words were never spoken.
But the ADLs chief troublemaker, Abe Foxman, immediately flew into
one of his by-now tiresome furies and fired off a letter (which he
made available to the news media, of course) to Dolly, scolding her
for her innocent, honest comment. Foxman charged that Ms. Parton was
invoking "the old antisemitic stereotype of Jewish control of
Hollywood and hostility toward Christianity." He did not, however,
directly contradict her or deny that Hollywood is controlled by his
fellow Jews.
Being the nice person she is and knowing on which side her bread
is buttered, Dolly dutifully and publicly apologized. She wrote to
Foxman, "I regret that my words could have conjured up an impression
of Jewish 'control' of Hollywood." Ever the arrogant, whining bully,
Foxman accepted Ms. Parton's atonement, informing the media that is
was a "refreshing capitulation." And the Hollywood lie lives on.
The Jewish denial that Hollywood is controlled by Jews is a great
lie which can be attested to by anyone who has ever been associated
with the film industry. Here is but one example.
In the late 1970s, New American View editor Victor
Marchetti was working as a screenwriter on a spy movie. The producer,
the director, Marchetti's agent and just about everyone else was
Jewish. The proposed film was shopped around to several major
studios. All the executives at all the studios with whom the project
team met, with one exception - Alan Ladd, Jr., then head of 20th
Century Fox - were Jewish.
At one meeting, at MCA-Universal (the studio which produced
"Schindler's List"), the discussion was interrupted when a latecomer
entered the studio head's office and took a seat next to Marchetti.
He was a little, nondescript person who seemed out of place in the
production meeting. The studio head halted the discussion and,
turning to the little man, asked if he bad any problems with the
project after having read the treatment, an abbreviated script. The
man, speaking with a foreign accent, said no, smiled at Marchetti,
and departed.
"Who is he?" Marchetti asked the studio head.
The powerful Hollywood boss answered, "He's an Israeli. I just
wanted to make sure there was nothing in this movie that he would not
like." As the meeting continued, Marchetti began to count noses. Of
the nine people in the office, Marchetti was the only non-Jew. It
reminded him of many meetings he bad attended in the publishing world
in New York, where often be bad been the only Gentile out of a dozen
or more people discussing a book project.
Marchetti's Jewish agent leaned over and asked in a whisper, 'What
are you thinking about?"
"Everybody in the room is Jewish except me." "Forget about that,"
the agent said. `You just better hope that your Jews are smarter than
the studio's. We're talking big bucks."
Since then, Marchetti has had several other involvements with the
Hollywood movie crowd. It was always the same. The Jews were, and
remain, in control of Tinsel Town. To say otherwise is to lie.
It is bad enough when a group representing less than three percent
of the American population - and many of whose members have a
self-proclaimed first loyalty to a foreign nation - should be in
control of so many of America's cultural, financial and governmental
institutions. But it is positively insulting for them to deny their
influence and power - particularly when they themselves are
continually boasting in their own circles about their
"overrepresentation" in these fields. And it is absolutely
infuriating when this denial reaches the point that non-Jews are
attacked by Jewish agitators and Zionist zealots for stating obvious
facts and truth.
Most Americans have always been suspicious of too much power in
too few hands. That's what the Constitution is all about. And that is
why we have never trusted elitist groups which have tried to dictate
to us. So, if we don't trust the old-line establishment, the old
elite, why should we not be suspicious of the new elite -the Jewish
establishment - and its excessive power in America.
Reprinted from
The
Journal of Historical Review,
(Volume 17, number 5, September/October 1998)
The Journal of Historical Review:
P.O. Box 2739 , Newport Beach, CA 92659, USA. Subscription: $40 per
year (domestic).
In this January 1996
Philadelphia Daily News editorial cartoon, Signe
Wilkinson takes note of Hollywood's powerful role in shaping
the way Americans view history, and thus themselves as a
society and nation.
Given the background, sensibilities and character of those
who control the US film and television industries, it is
hardly surprising that the historical perspective that
prevails today in the United States is a skewed one that is
alien to the interests of the vast majority of
Americans.
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