Posted 02/11/06
Dear Editor:
After watching Steven Spielberg’s
Munich, I was left
with the unmistakable conclusion that Spielberg
is celebrating the gruesome, revenge, hit-killings
he portrays in the movie. The reoccurring theme
in this film is that the Palestinians killed Jews
and the Jews are justified in paying them back.
It is a classic “eye-for-an-eye” vendetta
with a bizarre Jewish twist to it. Obviously,
Spielberg knows little of the uniquely Christian
concept of forgiveness. Munich
portrays a weird, Khazar blood lust which a true
Christian cannot spiritually, intellectually or
emotionally comprehend.
It can be reasonably assumed
that since he was celebrated after making Shindler’s
List, Spielberg is a de-facto spokesman
for Jewish culture and a textbook example of Jewish
thought (which is portrayed in Munich).
Maybe this may explain some of the unnecessary
sex scenes and voyeuristic flesh shots that Spielberg
inserts in Munich. The
only civilized guise for making this movie is
to portray the internal conflict and turmoil,
for the reprisal murders, that the Jewish assassins
had to grapple with. About one percent of this
dreadful, three-hour movie is devoted to showing
this “humanitarian” side of the bloodthirsty
Jewish killers. The other ninety-nine percent
is the vicious Jewish reprisals.
Spielberg is a talented cinematographer;
a gifted propagandist and a racist with a peculiar
ability to distort reality and make what is evil
appear to be good. He evidences his blood lust
by the way he portrays the killing of the Jews
versus the way he films the retributions against
the Palestinians. When the Palestinians are shot
or blown up, Spielberg spares no gore. It appears
that he can not portray the Arab bodies being
killed or mutilated enough - it is like he is
sending this message to the world: “Goyim,
if you mess with Jews, this will happen to you.”
A particularly graphic scene shows the aftereffects
of a Palestinian who is murdered by a bomb placed
in his hotel bed. He is literally blown into a
ceiling fan; his mangled and blood soaked arm
dangles from the fan. The kindly assassins then
go into what is left of the next room and help
the young, sex-crazed couple who are collateral
damage caused by the blast. When the Jews are
killed in the movie, Spielberg shows crazed Arab
faces and guns being fired at the Jews. It appears
that he can not bring himself to portray pounds
of Jewish flesh flying or roasting and gallons
of Jewish blood being splattered on walls or floors,
which is how he portrays the deaths of the Arabs.
Spielberg’s racism is
evidenced by the fact that many of the thuggish
Jewish assassins in the movie are Germanic in
appearance. I guess in his mind, “Aryan”
blood equals congenital killers. The “intellectual”
bomb maker is the only Jewish assassin who clearly
had stereotypic Jewish features. The subtle, racist,
anti-German message is reinforced by the fact
that this character is the least thuggish and
has a conscience. Another glaring example of Spielberg’s
racism and hatred is how the Jewish assassins
treat the corpse of a female Dutch assassin who
kills one of their team. After they shoot her,
one of the Jews covers her nude corpse. Another
contemptuously flings the covering off her body
to expose her bloody corpse. This was crude and
unnecessary, other than to show the level of Spielberg’s
hatred of the Goyim – especially Goyim who
dare to kill his people.
It is amazing the lack of remorse
displayed by the Jewish assassins in this film.
Some of them feel a sense of remorse for the vendetta
killings of the Arabs and there are a few minor
spats between the assassins over the ethics of
committing reprisal killings. The final resolution,
in every case, and consensus of the Jewish assassins,
usually after a huge, five-star meal, is a plan
on how to kill the next Arab on the list of “unrighteous
people.”
The Jewish characters Spielberg
portrays are ruthless killers who, starting with
the initial assassination in the movie, celebrate
with wine and dance when the job is done. The
Jews feel like they had a right to kill and the
more paybacks they administer the better. The
Jews know they were right to confiscate the Arab’s
land and slaughter Arabs when Israel was formed,
which caused the Arabs grievances, which produced
the Munich massacre,
which led to the endless cycle of blood lust which
this film depicts in detail.. If cattle were part
of the scenery in this raunchy film, they would
have received better treatment than the Arabs
got from Spielberg.
It was amazing how the average
Jew depicted in the movie views these Jewish murderers:
the killers are heroes, deserving adulation like
movie, sports or music icons. The main character’s
mother adamantly rejects her son’s notion
he was wrong in taking part in the targeted killings.
There is no question in her mind that the killings
her son did were “good.” She lets
him know that he did it for his people, past,
present and future. This mother is unapologetic
that the Jews took the land from the Palestinians.
It was their right (The religious and ethnic rights
for modern-day Jews to live in Palestine do not
exist. They broke the Covenant with God, rejected
their Messiah and probably have as much genetic
claim to being descendants of David as the average
Irishman, Chinese or Hottentot does.).
The main character’s
remorse appears to stem from fear of reprisals
against him or his family than from remorse for
doing evil against other human beings. Steal,
kill and destroy - as long as the people being
stolen from, killed or whose property is destroyed
is Arab. It did not seem to bother most of the
Jewish characters in Munich
that some of the Arabs murdered in the film may
have had no part in the slaughter of Jewish athletes
in Munich, which is
why this Levantine assassination team is formed
in the first place.
One particular scene is so
hubristic that it is hilarious: an assassins states
that the reprisals (murders) were done for peace!
Munich is not a movie
about peace. It is a calculated message to incite
terror in people whose brains have not been killed
by the incessant propaganda of the American media
and the cultural warfare being waged against Christendom.
Hopefully, the knee-jerk sympathy, for the Jews,
engendered by films like Shindler’s List
will be undone by Munich.
Maybe then the world will realistically assess
history and the culture war and the United States
will stop funding, to the tune of $6 billion a
year; racist, bigoted, Zionist aggression against
the Arabs. Once this is accomplished, serious
work can be done to save all souls, including
those who call themselves the “Chosen People.”
The retribution displayed in Munich
is not the type of “example for humanity”
that Jesus has in mind for the Jews. This is a
mindset that needs the cleansing that only the
acceptance of Jesus as Messiah can start to bring.
Otherwise, the pathetic state of terror, blood
lust, vendettas, and racism that is being committed
by Arabs and Jews against each other will continue
to spiral downward.
Paul Pierce
New York, New York
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