Zionist Spartacus

By Garcia Wilde, 22 June 2024

Long before the illegal installation (1948) of Israel in Arab Palestine and the driving away of 750,000 Palestinians from their homeland, Jewish Hollywood was busy helping create the Zionist colony by raising money for Jewish terrorist gangs, donating money to Zionist institutions in Palestine, buying bonds, and even smuggling arms to Palestine with the help of gangsters like Micky Cohen. In addition, the Zionist movie moguls produced movies where Arabs were depicted in negative light. In his seminal 574-page Reel Bad Arabs, Jack G. Shaheen focused on the portrayer of Arabs in movies as backward, violent, slow-witted, lazy, lecherous, treacherous, lawless, racist, unreliable…In the introduction to the book, Cinecism magazine editor Max Alvarez said: “The culture for which Hollywood has shown its greatest contempt has been the (Arab or) Middle East culture.” Hollywood’s attack on Arabs hasn’t been without a hidden motive. It’s no accident that Hollywood launched scores of Biblical and historical epics exactly at the birth of Israel. In the next fifteen years, moviegoers were regaled with  grossly inaccurate exploits of such Jewish heroes as Samson, Solomon, Ben-Hur, Barabbas, Moses and the Masada suicide fanatics…all asserting — obviously or subtly the legitimacy — of the Zionist enterprise.

After the false belief that the Judeo-Christian ethos linked the U.S. to Israel, it was Hollywood which played a key role in putting the two in the same tent. Other than the studio heads, directors and producers, it was such stars as Elizabeth Taylor (convert to Judaism), Paul Newman (half-Jewish), Sammy Davis Jr. (convert to Judaism), and Kirk Douglas (born Issur Danielovitch Demsky) and a cast of thousands who acted as hasbara agents for Israel. Other effective Zionist propagandists were writers Paddy Chayevsky, Arthur Miller, Ben Hecht, Leon Uris, and many best-selling authors—Jewish and Gentile. Together with the studios, they institutionalized anti-Arab prejudice.]

Here is a sample of Hollywood’s Zionism-promoting Biblical-historical sagas.

Samson and Delilah (1949). Directed by Cecile B. De Mille (a convert to Christianity), the movie was based on Ze’ev Jabotinsky’s Judge and Fool novel. Jabotinsky was a rabid Zionist who fled Palestine for the U.S when British Mandate authorities were about to arrest him for terrorism. Incidentally, soon after Jabotinsky settled in the U.S., a certain Benzion Netanyahu (father of war criminal Benyamin) joined him as his aide.

In “Samson and Delilah” perennial villain George Sanders was the Biblical version of senior British Mandate officers who chased Zionist terrorists. In the movie, Samson is betrayed by Philistine (Palestinian?) Dalilah and blinded by her Philistine co-conspirators. “Samson and Delilah” starts with a Philistine soldier beating an old story-teller who is narrating the story of Moses to children. Other characters channeling the British ruling class in Palestine were two more British actors: Henry Wilcoxon and Angela Lansbury.

Spartacus (1962). The novel’s authors (Howard Fast, Arthur Koestler), screenwriter (Dalton Trumbo), producer (Kirk Douglas) and initial director (Stanley Kubrick) were Jewish. Although in the novel “Spartacus” was depicted as a Marxist revolutionary, producer and star Douglas had other ideas. As writer Derek Elley wrote: “Douglas has effectively transformed Spartacus from a Marxist rebel into a Zionist hero. For Spartacus stresses that he wishes not to attack Rome but to lead the escaped slaves out of Italy and back to their homes. What to Fast was a parable on equality became to Douglas one with specific Zionist leaning, with Spartacus as a Moses figure attempting to lead his brothers and sisters out of a repressive Italy to an unspecified Promise Land.” Like most Hollywood cinematic epics, “Spartacus” is heavy with historical inaccuracies. One example: Spartacus was killed in battle; he is crucified in the celluloid version.

Ivanhoe (1951) Because Sir Walter Scott was enchanted by Jewish Rebecca Gratz, he named “Ivanhoe’s” Jewish heroine Rebecca. She was the daughter of Isaac of York, the leader of the city’s Jewish community. At the beginning of the movie, King Richard the Lionhearted is a prisoner in Austria. The Austrians are demanding a hefty ransom to free him. Richard’s brother wants to make sure the ransom is not raised. However, Isaac and his community secretly raise the money and free the king. This is taking fictionalized history to new heights or depths. Jews of England hated King Richard who had persecuted them. The movie also established a “tradition” of associating Robin Hood with the Jews.

Masada (1980) filmed in Israel, it’s about the mass suicide of Jews in Masada fortress. The badly-acted movie starts with Israeli recruits climbing to the Masada to swear their oaths. The ancient Jewish War was cast as an analogue to Zionist resistance to the British. At one point, the head of the rebels says they are “surrounded on all sides”…a popular Zionist trope about Israel being surrounded by Arabs. He also echoes Ben-Hur when he says: “We want our freedom. We want our country back.” In a clever move, the reasonable soldier who leads the Jewish forces is named Shimon, as in Shimon Peres while the unreasonable Jewish fighter is named Menachem, echoing Menachem Begin.

Ben-Hur (1959). Although “Ben-Hur” is subtitled “a tale of the Christ,” it is the story of Jewish prince Judah Ben-Hur. Director William Wyler took the job because it was about a Jewish hero. The movie makes Ben-Hur an ardent Zionist. The movie is all about Jewish identity, read Zionist, nationalism: Jews fighting for their lives and their freedom. Composer Miklos Rosza used Babylonian and Yemenite Jewish music to enhance the nationalism of Ben-Hur. Messala, Ben-Hur’s friend, was imbued with the idea that Romans were the master race (Nazis?). Although the plot has no connection to Arabs, Hollywood dragged in hook-nosed Sheik Ilderim. An oily character, he is the object of ridicule because he has eight wives.

The Ten Commandments (1956). Adolph Zukor, the president of Paramount Pictures, gave the green light to the movie because it was about a Jewish hero. The flight of the Hebrews from Egypt had a contemporary counterpart. Just as Moses had been forced to leave Egypt, so had Egyptian Jews who had left Egypt in the Fifties due to the wars between Egypt and Israel. The nasty Pharaoh was the ancient version of Egypt’s President Gamal Abdul Nasser who was at war with Israel.

King of Kings (1961). Angelic and green-eyed Jeffrey Hunter was Christ. Director Nicholas Ray said: ”…the central theme of the film is the oppression of Jews.” It’s obviously back to the much-furrowed analogy of the British “villains” who ruled Palestine (1918-1948). The Zealots are the ancient equivalents of the terrorist Irgun and Stern. To sully Arabs, the movie turns villainous Herod Antipas and Herod the Great into Arabs.

In addition to the Biblical extravaganzas, Hollywood produced the cowboys-and-Indians “Exodus” by Leon Uris. The movie, along with “Cast a Giant Shadow” and “Judith” deserve an article. The Zionist propaganda movies featured names like Frank Sinatra, Kirk Douglas, Yul Brynner, John Wayne, Peter Finch, and Sophia Loren. It’s worth noting “Exodus” director Otto Preminger went further than Uris to absolve Israelis of guilt for the creation of refugees while milquetoast Pat Boone sang “This land is mine…God gave this land to me.” A hilarious gaff of “Exodus” was the name of the hero. In his wisdom, Uris had named him Ari Ben-Canaan. Canaanites were the original people of Palestine (“Land of Canaan”). They were driven out by Abraham’s Hebrews. Ari was the son of a Cannanite. The Israeli hero was the son of the enemy Cananites.

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