The Biggest Lie
by Douglas Mercer
IN 1945 RKO Pictures (the creation of a Jew from Russia) foisted a bit of vile propaganda on the American people, a short film starring Frank Sinatra called The House I Live In. (At 30, Sinatra was then the center of “Sinatramania” and was idolized by millions of teenagers and young people. The film, though only a one-reeler, would have drawn large audiences on the basis of his name alone.)
The writer and director of this piece of trash were both Jews; none of the families of the executives who produced it had been in America longer than fifty years.
This did not stop them from telling real Americans what America “really was.”
It’s the biggest lie.
This short movie is about the “melting pot,” the “American Creed,” the notion of the “proposition nation,” of America as “an idea, not a people” — about “Americanization.”
Americanization is supposedly the process whereby alien races become Americans. But it is really nothing but racial poisoning, and Americanization is thus a gross misnomer; it is doublespeak; Americanization is really de-Americanization.
Jews have always wanted to mongrelize the in-group until the in-group is no more.
When the film was made these ideas were circulating in elite circles, in textbooks of the 1930s where cultural pluralism was supplanting settler ideology, in Gunnar Myrdal’s attack on White America in the “anti-racist” An American Dilemma (1944).
The film starts out with a gang of boys chasing another boy and cornering him. Just at the fateful moment a wide-eyed Sinatra steps in to defend the cornered boy.
The gang says that they don’t like the boy’s religion, one calls him a “dirty –” but Sinatra cuts him off before he can say “Jew.”
Here is the first Jewish sleight of hand. Immediately the conflict between Whites and Jews is made one of “religion” rather than what it is in fact, one of race.
It’s the biggest lie.
This was the era in which the phrase “Judeo-Christian” was created and pushed, the era of the “truce” between Jews, Catholics, and Protestants, in which Jews became one of the three major American religions.
Suddenly “Jewish” was simply a religious designation, making the conflict anodyne, one about ideals, ideas, and abstractions instead of what it is, in fact: a racial struggle.
“Inclusion” for Jews always means the eradication of White people; and for them “tolerance” is the sheep’s clothing that tyranny likes to dress up in.
In defense of the cornered Jew, Sinatra fires back at the gang of White boys: “Are you Nazis?”
This represents an early example of what came to be the standard response applied to normal Americans who want to have a country of their own, a response which continues to this day.
“Are you Nazis?”
During the Second World War, polling showed that anti-Jewish sentiments remained uniformly high among Americans, but right afterwards polls showed such attitudes plummeting.
Suddenly and for no reason at all Americans became pro-Jewish.
The message from the ruling class was filtering down to the people: The Jews are an untouchable caste, one that you mess with at your peril.
Sinatra, who was also an “anti-racist” in real life, then gets one of the boys to say that his father was wounded during the war, and the Jewish boy says his family “gave blood for transfusions.”
Now the blood of the White man and the Jew are mingled.
Now “all races are equal.”
This sharing of blood is the symbol of the race-mixing and the race poisoning advocated by Jews.
This abomination is meant to show that “all Americans” live in “brotherhood.” That “there is only one race, the human race.”
It’s the biggest lie.
The boys say that they don’t want the Jewish boy in their neighborhood, or in their school. The Jewish boy says he’s been there longer than they have.
Jews show up yesterday and act like they own the place; no sooner are they citizens than they lecture us about how to be Americans.
Sinatra intervenes and says his family came from Italy but he then asserts: “I’m an American.” He says that religion makes no difference, that God created everybody equal and made no one better than anyone else. That there are different races, and different religions, but “all of them are American.”
The melting pot, America is an idea, being American as an assent to a proposition (that all men are equal).
This film is a repository of all the mid-century propaganda that was inundating America, reconstructing America, propaganda aimed squarely at dispossessing White people from their American homeland.
The film is a repository of the biggest lies.
Then “anti-racist” Sinatra says “the Japs bombed Pearl Harbor.” (It would take longer for Asians to be included in American “brotherhood,” but that day would come too.) He then says that in May, 1942 the Americans bombed a Japanese ship, and that it was a White Presbyterian piloting the plane, but it was a Jew who dropped the bomb.
World War 2 was a Jewish war. Nothing could be more fitting or symbolic than a Jew dropping the first bomb, and getting the White man to allow him to do it.
But the film’s message is clear: Whites fight alongside Jews in wars which will end forever America’s traditional isolation.
A Jewish bomb indeed.
The film ends with Sinatra crooning to the assembled boys, singing “all races, all religions, that’s America to me.”
Then the boys walk away together in harmony, Jews and Whites together.
Saccharine and sentimental — and cynical, vile, and devious.
There’s a reason the film was showered with awards and that the Library of Congress has preserved the original film in its pristine state.
It’s the distilled message of the new post-war “American” elite to the masses: Don’t you dare say a bad word about the Jews, they are “just like you.”
Everyone is equal; we are all simply “Americans.”
Which is, of course, the biggest lie.
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