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Muzzling Mitchum

Robert Charles Durman Mitchum (1917 – 1997)

by Rainer Chlodwig von K.

BEFORE Thunderdome sh*tlord Mel Gibson became the establishment’s least favorite Hollywood A-lister for his unabashedly critical comments on Judaic influence, Thunder Road hellraiser Robert Mitchum had his own career non-fatality collision with a charge of “anti-Semitism.” The incident, ironically enough, occurred the same month as Mitchum’s appearance in the Zionist propaganda miniseries The Winds of War was broadcast, in February 1983. Revisionist researcher Charles E. Weber, writing in Liberty Bell magazine, characterized the series as follows:

During 6 to 13 February an eighteen-hour television film series reputed to have cost about forty million dollars was presented on ABC television stations. Its strongly slanted message is powerfully presented. The series appears to be a very expensive effort to counter the many revisionistic voices which have been questioning the common versions of the history of the Second World War. Its objectives are the presentation of Jews as innocent victims of evil Aryans (Germans, Poles, even Americans) and keeping Aryans divided among themselves. One is almost reminded of a passage from the Hebrew part of the Bible: “And I will set the Egyptians against the Egyptians: and they shall fight every one against his brother, and every one against his neighbour; city against city, and kingdom against kingdom.” (Isaiah XIX, 2)

The dramatic technique of the series is primitive enough, but has a powerful appeal to simple minds. Antagonists (Germans and some other Aryans) and protagonists (Jews and Aryans acting in their behalf) are sharply and simplistically contrasted as purely evil and purely good. Although the series is based on a fictional work [by Herman Wouk, a U.S. Navy veteran whose son instead served in the Israeli Navy], the implication that it represents historical reality is put across by flashing dates and sometimes even hours on the screen at the beginnings of plot segments.1

Sequences include one “in which Jews, naturally including women and infants, are taken out of trucks, led into a pit and machinegunned.”2 “All European peoples involved in the Second World War suffered during it,” Weber concludes. “If someone knew absolutely nothing about this tragic, divisive war,” however, “he might almost have the impression from the series that nearly all of the suffering in the war was borne by one race which accounted for only about 2% of the population of Europe.”3

Maybe the obnoxiousness of the whole experience got to Mitchum, who through a loose-lipped bit of irreverence nearly sank the ship of his waning film career. The actor had earlier given indications of annoyance with Jews, as biographer Lee Server reveals about the circumstances of Mitchum’s firing from the production of Zionist filmmaker Otto Preminger’s 1975 anti-Palestinian programmer Rosebud. Mitchum’s drinking and tomfoolery got on Preminger’s nerves, finally driving the director to replace the star with Peter O’Toole:

“I don’t want to shake hands,” Preminger says. “There is nothing to shake hands about.”

“Right,” Mitchum says. “That’s it then. Bon voyage, buddy.” […]

At the hotel, Mitchum announces that he’s been fired. He wakes [his wife] Dorothy and tells her to start packing. The producer’s camp claims that Mitchum wasn’t fired, he quit. With insurers to think about, it would be costly to take the blame. Preminger is furious, convincing himself that Mitchum has been the source of his problems all along, even the ones before he hired him. Later in the morning there is a tense scene in the production office as Mitchum demands his first-class tickets home. A telephone is thrown around. Preminger has someone call the police.

“F**k Preminger and the boat he sailed in on,” says Mitchum. “The Exodus!

[Theodore] Gershuny reports a conversation that evening between Mitchum and Israeli actor Josef Shiloah. Mitchum grabs Shiloah’s hand. He says, “Kill me, brother. Kill me!” Mitchum is very sorry about what has happened. “If you are sorry,” the Israeli says, “you must call Preminger because he is older.” Mitchum says, “You Jew bastard, you stick with him.” Shiloah says no, it is the right thing to do. Mitchum calls Preminger, but Preminger doesn’t take the call. Shiloah says, “And I know [this] is not a great star leaving. No! This is [a] man with pain. He hurt to leave.”4

Interviewed by Barry Rehfeld for the February 1983 issue of Esquire, released the same month that The Winds of War was broadcast, Mitchum ventures even further into Gibsonian territory. “Hitler needed lebensraum,” Mitchum replies when Rehfeld broaches the subject of the Fuhrer’s moral relativism. “And the slaughter of six million Jews?” Rehfeld asks. “So the Jews say,” Mitchum smirks. “So the Jews say?” Rehfeld is aghast. “I don’t know,” Mitchum explains: “People dispute that.”5

Irv Rubin and the Jewish Defense League immediately pounced on Mitchum’s statements. “Robert Mitchum is a Jew-hater and a Nazi sympathizer,” Rubin declared at a March 7 Hollywood press conference where he was “surrounded by thugs wearing buttons reading, ‘I am a Zionist Hoodlum’” – a reference to Vanessa Redgrave’s famous characterization of the JDL. “We have a private detective out trying to find Mitchum’s private residence in Santa Barbara,” Rubin continued. “He had better see the light or there will be midnight demonstrations right in front of Mitchum’s home.”6 “It was just sort of an academic debate with me playing the wounded journalist,” Mitchum weakly defended himself in a statement the following day. “I was just putting him on. I couldn’t believe that he didn’t understand,” the actor added7.

Clearly more committed to keeping his career afloat than to publicizing revisionist viewpoints on the Second World War, Mitchum made amends the following year by lending his star power to the Golan-Globus production The Ambassador, in which he appears as a cuckolded U.S. ambassador to Israel whose wife is having an affair with a Palestinian politician. Later in the decade, Mitchum ran interference for his patrons by putting a Gentile face on the entertainment industry in a role as a network executive with the humorous Teutonic WASP name “Preston Rhinelander” in the 1988 Christmas comedy Scrooged. Finally, Mitchum closed out the eighties with the sequel to The Winds of War, the bloated, twelve-episode War and Remembrance, which has the distinction of being the first film production to shoot on location at Auschwitz – ironically transforming the shrine into a literal movie set.

Rainer Chlodwig von K. is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

Endnotes

  1. Weber, Charles E. “Some Afterthoughts on the ABC Television Series The Winds of War.” Liberty Bell (May 1983), p. 6.
  2. Ibid., p. 7.
  3. Ibid., p. 8.
  4. Server, Lee. Robert Mitchum: “Baby, I Don’t Care.” New York, NY: St. Martin’s Griffin, 2001, p. 460.
  5. “JDL Threatens Mitchum for Questioning Holocaust.” Liberty Bell (May 1983), p. 11.
  6. Ibid., p. 9.
  7. “Not ‘Jew Hater’.” The Yuma Daily Sun (March 8, 1983), p. 3.

* * *

Source: Aryan Skynet

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4 Comments

  1. Ghost of Wernher von Braun
    November 3, 2018 at 1:25 pm — Reply

    My daughter is an actress who has appeared in one of Bentley Mitchum’s (Robert Mitchum’s grandson) low-budget movies but I don’t know his opinion regarding Jews. As for my daughter, she cannot reveal she has a father who harbors my views. In that milieu, thought-control is on overdrive, and if you want to work, silence is mandatory.

  2. ricck lineheart
    November 4, 2018 at 1:08 am — Reply

    Today America is at a crossroads as well as many European countries . Massive migrations brought forth by the overseers of constant warfare and no need to win because the cash flow would be interrupted and Central Banking does not want that . Migrations are funded by Jewish foundations and LLCs some of which Geo.Soros himself has in his pocket . And now coming into America fast approaching the southern border is a migration of maybe as many as 15 , 000 .This will not stop there will always be at their crossing point the ways and means to keep pouring into the U.S.A. . With many members of the House and Senate and in the offices of the Pentagon are card carrying members of the elite group known as ” Dual Citizens ” , one side of the card says American the other sides says Israel .Stand up and be heard or many people will be forced down the wrong direction .

  3. cc
    November 4, 2018 at 11:35 am — Reply

    Speaking of crossroads: The South reached its Saturation Point in the 1960s. The Federals wasted no time occupying the hot zones. Those people sent a message to the world that the kinfolks states are the counter-culture of Federaland — the United States of America. Much obliged. Thank you.

    The rest of the country is behind schedule.

  4. Sethmoto101
    November 5, 2018 at 11:41 am — Reply

    Mid to late 1970’s and 1980’s adult TV was uniformly and blatantly anti-white, without the racial muddling seen on today’s shows. Every cop show, sit-com, news story, and mini-series showed the psychopathic killers, thieves, corporate thugs, or buffoons as white. You have to go back to 1950’s Perry Mason to see realistic scenarios of whites driven to crime by honest, though invalid, emotion. In the 1970’s, people were literally being mugged by latinos or negroids on the way home from work, then upon returning from a pointless trip to the police station, turning on an All in the Family episode where the mugger is a blond hair and blue eyed Aryan – in NYC, a Norman Lear ((production)). William Pierce wrote about this situation in a review of the biopic on Rubin Hurricane Carter directed by Norman Jewison: https://nationalvanguard.org/2016/01/the-hurricane/ .There was no pretense on who was behind most of this misleading TV production, no jap conglomerate or Romanesque-named investor-group for them to hide behind like now. It was a more honest time! And even uglier – the ethnic breakdown of the main actors in the original Karate Kid movie is an example of how this poison seeped into teen-age genres of the 1980’s; bullies were nearly always portrayed as white jock-type high school students. We know otherwise.

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