Steven Spielberg: Body Snatcher–A Review of the Miniseries “Band of Brothers”
(The Occidental Observer) -- by Charles Dodgson --
In ten episodes, Band of Brothers depicts how E (“Easy”) Company, 506th Regiment, 101st Airborne Division, trained in America and England and then fought from D-Day through to the end of the European phase of WWII. It is a technically strong and gripping production. The battle scenes are among the most realistic I have seen, though one must allow for the demands of the cinematic medium — emphasis of a few individuals and spatial compression of combat groups. I am reminded of the grim and gritty street battle sequences in Spielberg’s Saving Private Ryan. This review looks at the ninth episode, which does not depict military conflict but is itself something of a black operation in the culture wars.
As our own Edmund Connelly has repeatedly demonstrated, Jewish interests have frequently been pushed by American television and Hollywood films in various ways, often as a backdrop to stories unrelated to ethnicity, like the omnipresent upper class Anglo twit and the Black genius technical expert. The 9th episode of Band of Brothers, titled “Why We Fight”, represents an unprecedented level of ambition — to claim America’s WWII sacrifices as motivated by the desire to save Jews from Nazi persecution, to make America’s sacrifice in WWII all about the Jews, not about Americans doing their duty in a tragic internecine conflict.
The episode opens with a scene of devastation in the German town of Thalem, on April 11, 1945. There is rubble in the streets and townspeople are cleaning up. A group of relaxed G.I.s looks on from a balcony. An impromptu chamber orchestra of old men is playing a Beethoven dirge.
Then a flash-back: “One month earlier, Sturzelberg, Germany”. The war is as good as over. The Wehrmacht has given up the fight. Roosevelt’s death is announced. There are scenes of looting by officers and men; of a soldier having sex with an enthusiastic blond German girl; of drinking. The bridge over the Rhine at Remagen is announced captured.
The company is still under orders, though the men are beginning to think about life back in the States. The company moves out in convoy. A Jewish G.I. — the only Jewish soldier in the series and in the book — talks about his plans for after the war. “I’m going to find a nice Jewish girl.”
Masses of German POWs march by in orderly ranks. An officer says admiringly that even in defeat the Germans look like soldiers. But the Jewish G.I. sees nothing but objects of hate and contempt, standing up in the vehicle and screaming: “You stupid fascist pigs. . . . You ignorant, servile scum!” This displays a sophisticated vocabulary for someone who we are told in the final episode went back to driving taxis after the War. The scene does not occur in Ambrose’s book.
The company drives past a scene of summary executions of three uniformed Germans, who are kicked out of a building, made to kneel, then unceremoniously shot in the head, blood spraying. Their killers then begin to go through pockets. The killers are also uniformed but are not Americans or British. Perhaps Czech troops. The troops of Easy Company are shocked by the murders. They look down grimly, except for the Jewish G.I., who smiles.
A patrol in a forest near Landsberg in Bavaria discovers a concentration camp full of starving prisoners. (A 21-minute clip, including the concentration camp material, is available here.) The 101st did in fact liberate a camp in the area. The Jewish G.I. is the company’s translator. He translates the words of an inmate being interviewed by the commander. This is a work camp for Jews, pause, and Gypsies. The scene in Ambrose’s book does not mention Jews or Gypsies. It is described as a work camp (pp. 262–263).
German civilians in the local town deny any knowledge of the camp but they are not believed by the G.I.s. Food is requisitioned from the local town, from a bakery. We see a fat baker complaining as his entire stock is removed without explanation or payment. In Ambrose’s book there is no such character. Instead an officer finds a store of cheese and has it distributed to the camp inmates without incident (p. 262). The fat baker is an exemplary propaganda construct of the cheapest Hollywood films. His jiggling neck and self righteous possessiveness stands for all German civilians in the town who, we are led to assume, must have known of the camp. It is implied that they remained knowingly well fed while the Jews starved. An officer threatens the baker with his pistol and accuses him of knowing about the camp. The baker’s unpleasant appearance is another example of Spielberg using hackneyed propaganda technique. It is not enough that a person do wrong. He must also wear a black hat and waxed mustachio...MORE...LINK
Smirking oligarch Steven Spieldberg, (top) pictured here with his Jewish media cohorts David Geffen (left) and Jeffrey Katzenberg, has systematically advanced the Zionist agenda by using mass media propaganda to portray ethnocentric Jewry as victimized and heroic when in reality it's racist and predatory as epitomized by Jewish Bolshevism, Zionism and Neoconservatism. -- C.M.
No comments:
Post a Comment