Hollywood, the Holocaust, and the Hatred of Truth

Revisionist doyen Robert Faurisson attended the thirtieth annual Fajr International Film Festival in Tehran and there on February 3 delivered a speech whose subject in English was “Against Hollywoodism—Revisionism.” In it, the pioneer revisionist provided a penetrating perspective from a distance of one ulterior aim of what is better known to Americans as “Hollywood morality,” the presentation of issues and events, real and fabricated, whose insidious psychological effect on audiences is to advance a concealed agenda of those who have covertly gained control of the narrative. On the specific subject of the Holocaust, of course, Faurisson had to illuminate the activities of those animated by Zionist/Jewish partisanship, and unavoidably referred to the extent to which the import of virtually everything emanating from Hollywood is effectively mediated by agents of such motivation.

His analysis, in keeping with a tradition he could, if acting alone, have established virtually singlehandedly, is most unflattering to those wielding the powers he discloses. But Faurisson, by dint of phenomenal courage and persistence, seems at this point to have inured himself to the threats of the powerful, and the violent as well (he suffered a severe beating in 1989 at the hands of Jewish assailants), and his address stands as a scathing indictment not only of those who have manipulated the organs of mass influence to their own nefarious purposes, but quite as well of those—many of us— who have been taken in by their blandishments and through tribal attachments or mere intellectual lassitude have failed to exert the moral and mental effort involved in throwing off the viciously distorted perceptions of reality purveyed via the silver screen.

This review of Faurisson’s disquisition aims to explore how, in abetting and embellishing the popular narrative of events since packaged under the rubric “the Holocaust,” Hollywood has subtly and perversely deployed the power of hatred in a propagandistic coup of a kind extensively and powerfully adduced by George Orwell in his 1948 novel 1984. In that work, Orwell presented a linguistic development of his portrayed dystopia called Newspeak.

Newspeak, a thought-twisting jargon imposed on the sheep-like populace from above, employed a number of insidious linguistic devices, but the one he exhibited that is of interest here is what might, at an objective remove, be termed “inversion.” It appears mostly in slogans that the malleable masses are taught, through incessant repetition, to mouth and so, through that Pavlovian device, to believe. Examples include “War is peace,” “Freedom is slavery,” and other such perverse equivalencies. The counteroffensive against revisionism being undertaken by the defenders of Hollywood’s decades-long disinformation campaign exemplifies precisely such Orwellian inversion.

At first blush, the objects of hatred that may be inferred from the invidious Hollywood presentation of “the Holocaust” would be the Germans and, for those interested, their various allies starting with the Austrians and proceeding onward to the majority (gentile) populations of German-occupied territories in Poland, Czechoslovakia, the Soviet Union, Rumania, and Hungary.

In fact, it is a good deal more subtle, or indirect, than a mere attack on the perpetrators of the condemned activities. The central objects of hatred and mistrust now are not the perpetrators of the original crimes, real and invented. They are, rather, those who would advocate—or even, as Faurisson has done, undertake— inquiry into the true nature, extent, and motivation of the original events or even—Hollywood Forbid!—the machinations of those who have created and promoted the dominant legendry and the people and projects for whose advantage the entire enterprise is carried on.

The original perpetrators have finally, seventy years after the alleged facts, gained a reprieve. They gained the reprieve not from anyone’s forgiveness, or even willingness to let bygones be bygones, but rather because those advocating disinterested inquiry into the facts of the allegations have drawn away the propagandists’ fire. The original project to enshrine the innocent victimhood of Europe’s (and Israel’s) Jews on a foundation of ineradicable guilt settled mainly on the Germans has been diverted away from the Huns to fight off a diverse and disfavored corps of truth-seekers from countries all the way from Hungary to Australia, and Canada to Italy.

The revisionist agenda is inadvertently threatening to the sanctification of “unique” Jewish suffering in World War II Europe, and the information it is adducing is potentially lethal to the franchise Hollywood has enjoyed for nearly a century at this point in the shaping and direction of the unexamined sentiments of Americans.

So the Empire strikes back at revisionism with the very weapon they won the heights by pretending to fight—hatred. Through a monstrous perversion they mobilize the reflexive hatred of gullible people of good will by imputing to their opponents exactly that crime that they commit with the very same strokes: intolerance. In connection with the expansion of the Israeli Empire across and throughout Palestine, Gilad Atzmon in February posted a profoundly insightful essay detailing how Zionist propagandists have transmogrified intolerance into racism, and racism into intolerance so many times that the distinction has become virtually invisible, to the lasting benefit of those whose purposes benefit from the dissemination of both.

The cracks in the walls of the Hollywood Holocaust edifice have even become visible inside the sanctum sanctorum. When, in December 2010, Director Oliver Stone let slip that his just-completed Showtime miniseries The Secret History of America might portray Adolf Hitler as ultimately a human being who could be understood, if not supported, by other human beings, the Jewish-Egyptian immigrant who imported The Transformers to America, Chaim Saban, swore to sink the release. And, along with an invisible army of confederates (most native-born Americans, and no other Egyptians at all), he did just that.

The Oliver Stone production scheduled for release later this year has, in token of its thorough sanitization, a slightly changed title: The Untold History of America. “Untold history” rather well captures the effects of Saban’s machinations, but the containment mission of suppressing actual material trying to escape the black hole of Hollywood Holocaustery is telling evidence of the tremors that every day rock the tower of lies more precariously.

Robert Faurisson continues a courageous, unrelenting crusade that has taken up by far the greatest part of his long and active career. Today, he is heard by few outside the precincts of Tehran and the redoubts of revisionism. But one day, perhaps after he himself is gone, he will be heard in Hollywood, and in all the other places where he and his message are marginalized, condemned, misrepresented, and punished by defamation and imprisonment.

I hope to be among those who hear him there.