Outlaw History #33
Laurence Rees, the producer of Auschwitz: Inside the Nazi State, was interviewed on PBS, one of our State-sponsored media outlets. The first question he was asked was:
"Why is this series important?"
Rees's response: "Auschwitz is a physical place – the site of the single largest mass murder in the history of humanity."
Well, maybe. Maybe not. We will ignore for the moment that the received wisdom of the Holocaust Industry itself, and that of the academics who front for it, is that the dead at Auschwitz might reach about 1.1 million (very unlikely). Still, a million dead is a million dead, not chopped liver.
If it's wrong to intentionally kill a million civilians at one place in Poland, I suppose it should be about equally wrong to intentionally kill maybe three million civilians and prisoners at a place called Kolyma. I don't know how many Hollywood movies have been made about Kolyma, but I'm going to go out on a limb here and say – not many.
Where was (is) Kolyma? In Russia. Who killed the poor buggers? Those following the orders of the principle ally of the US Government during WWII, the communist Soviet Union. Why is Kolyma no big thing in Hollywood, even though it was a bigger thing than Auschwitz? Let me count the ways. Because those who were murdered at Kolyma were goyim, while those who were supposedly murdered at Auschwitz were Jews? Do we have to go to number two? Okay. Because the Kolyma victims were murdered by those who were the principle ally of the US Government during WWII?
Rees tells PBS:
"The series uses Auschwitz as a prism to try and understand the whole of the extermination process and something of the mentality of the people who committed the crime."
Rees may not know about Kolyma. I'm no expert on the matter. But it does not occur to Rees or anyone else in Hollywood that it might be worthwhile to try to understand "something of the mentality of the people" who intentionally murdered the civilian populations of so many German and Japanese cities at the same time that the Germans were killing Jews with weapons of mass destruction, the existence of which have yet to be proven – despite the fact that the Hollywood people have "generated" gas chambers with computer technology?
Rees tells PBS that the idea for mass-murder does not come in out of the blue, but "...evolves. What happens is a series of incremental decisions, step-by-step-by-step-by-step. That's what is so phenomenally frightening about the whole decision-making process."
What were the step-by-step, incremental decisions that the bi-partisan US administration under Truman made to intentionally burn alive all the children in Nagasaki and Hiroshima? How did they come to that place in their hearts and minds, together, where they could see it as right to intentionally kill the children for what their fathers and big brothers had done? That would make an interesting movie. It's just not for Hollywood, or the people most influential in Hollywood.
Rees talks about "the Nazi philosophy. As long as you're useful to me, you can live; the second you're not useful to me, I'll kill you."
How about the "philosophy" of Democrats and Republicans, who we admit were able to achieve what it is only claimed the Germans achieved? Japs and Krauts had become useless entities to Americans. Of what possible use, these American philosophers argued, were the babies mewing in their cribs in Dresden, Hiroshima, Hamburg?
The answer? No use at all. Burn 'em. Burn 'em alive. Then never wonder about it. Don't make a public issue of it. Talk about Germans for the next half-century. Make an endless run of movies about Germans. Make a public issue of their "unique monstrosity."
Rees tells PBS:
"We're really lucky in that we're able to draw on a number of new sources. The primary one is that during the 1990's, the whole of the building plans relating to Auschwitz at all of its various stages of incarnation were uncovered in Russian archives. That's enabled us to be, I think, the very first people to build complete computer models of Auschwitz at its various stages."
Rees does not say that building plans relating specifically to "gas chambers" were uncovered in the Russian archives. The issue is still to be evaded. Massaged. It's sixty years on and there are still no "building plans" for gas chambers.
Rees tells PBS:
"We also have access to some of the very best computer graphic houses in the world. They are helping us recreate the very places the Nazis never wanted anybody to see."
To coin a phrase, garbage in, garbage out.
Rees, a principled and morally invested writer-producer, asks:
"What greater purpose can history have than to try and lead people toward a possible understanding of how this crime could ever have happened?"
I don't believe that this is so complicated as the Rees people, and Hollywood, and the Holocaust Industry, would have you think. The Republicans and Democrats ordered us to burn alive all the children in all the cities in Japan and Germany, and we did it. The Nazis ordered their people to kill whoever got in the way, and they did it.
That's what we do. We do what the State tells us to do. There are always a few among us who resist, but for the most, we do what we are told to do. Look at Iraq. Look at Palestine and Israel. We do as we are told. Almost every one of us, almost always.
Additional information about this document
|Author(s):||Bradley R. Smith|
|Title:||Outlaw History #33, Inside the Nazi State: Auschwitz; Inside the Mind of the American: Hollywood. A Review|
|First posted on CODOH:||July 7, 2012, 7 p.m.|