The Biggest Lie

The House I Live In, a production of alien Jews dressed up in the culture of the Old America, plays skilfully on the sentiments and emotions of the White Americans who were its intended audience. Unlike most Italian-Americans, its star Frank Sinatra was a lifelong “anti-racist” who refused to stay or perform at Whites-only venues. With real stage charisma and singing talent, at the time of the making of this film he was the nation’s best-selling recording artist and tremendously popular with young people.

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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Arvin N. Prebost
Arvin N. Prebost
22 October, 2020 9:54 am

Good job of uncovering the meaning of the suggestions in this film. They are right there, but people did not seem to realize the implications of them.

White people are so influenced by suggestions! I think there is a certain artistry to making suggestions, and making them just vague enough so that they stick.

I have to admire it; it is magic with words and images.

Many people on the right seem to me to come right out and lay it on the line. This is more honest, perhaps, but seems to be more in the realm of engineering than the realm of art.

It is art that motivates the spirit. Hitler knew this, but so do our enemies. In fact, they are quite good at it.

Douglas Mercer
Douglas Mercer
Reply to  Arvin N. Prebost
22 October, 2020 12:08 pm

Yes, I agree. It is first rate propaganda. The movie presents its ideas as being innocuous and wholesome. That’s why when you see what they are really doing you can see how devious they are

William White Williams • Chairman, National Alliance
William White Williams • Chairman, National Alliance
22 October, 2020 8:07 pm

Amazing, Mr. Mercer! That could be the most important movie review I’ve ever read, I’ll never be able to listen to a sappy Sinatra ditty again without thinking of this.
comment image

Here is the 10-minute film on YouTube:

Never overestimate the intelligence of the American public -paraphrasing Mencken


Sinatra changed his views later in life and did a complete 180 degrees on his politics after his middle age. It’s a shame he didn’t realize he was being used as a tool for this awful one-reeler.


“No one ever went broke underestimating the intelligence of the American people.”

Will W. Williams * National Alliance Chairman
Will W. Williams * National Alliance Chairman
Reply to  Lugh
28 October, 2020 1:16 pm

Thanks, Lugh. I like my version better. It’s not confusing as is the original to most of the gullible American public.

22 October, 2020 10:17 pm

I think the movie industry – not only in America – was created primarily to give studio owners, producers, script writers, directors and other ‘executives’ – most of them unattractive men, many of them Jewish – easy access to young, attractive women, primarily of Germanic or Celtic blood/
‘I can make you a star, baby.’
The fact that movies – and, later, TV – were the best propaganda and spin machines ever invented before the internet and make oodles of money are really just pleasant (for them) side effects.
Never had a good feeling about Sinatra, always struck me as a slime bag.

A. Pressley II
A. Pressley II
24 October, 2020 5:06 pm

What a fascinating review. I haven’t met many jews in person, but the few I met were not bad people. I have little doubt the media and hollywood attract sociopathic personalities; they make criticism of Jews impossible throughout the media and literature.

You might check out this one free story here, supposedly based on a true story of racial conflict: I would have thought this type of thing ludicrous, but with the censorship of all the rumors of what our elites are up to, who knows what to think anymore.

pj dooner
pj dooner
25 October, 2020 8:48 am

I did a little research on Frank Sinatra and I found that he was evidently obsessed with being on top with one goal of moving ahead of Bing Crosby starting back in the 1930s and 40s. He also went against Tommy Dorsey, who was a father figure to him at one time, in his bid to get to the top. I didn’t see where SInatra had much to do with jews although he must have known that they owned and controlled most of the the record companies and Hollywood back then as now and he was dependent on them to get record contracts and into movies. Therefore I conclude Sinatra did this little propaganda movie for the jews because he figured it would help him get to the top and… Read more »

Reply to  pj dooner
25 October, 2020 1:33 pm

It’s well known that Sinatra was an associate of mafiosi in real life. In The Godfather (1972) there is a part of the film where a studio head is leaned on by the mafia to give a leading role to an upcomng young actor (the character is not called Frank Sinatra but it is widely believed to be an allusion to him). The movie mogul refuses and wakes up one morning shortly thereafter to find the severed head of his prize race horse in bed with him.

26 October, 2020 11:22 pm

I recall that thirty years ago a celebrity had stated that Sinatrq had saved his life when he was being beaten by thugs in a dark alley in Las Vegas. After being beaten for five minutes, Sinatra said “OK Fellas, you can stop now.”

Wolf Stoner
Wolf Stoner
27 October, 2020 2:24 am

Very interesting article. It is of paramount importance to trace deep roots of everything that happens now. The enemy has prepared ground for our destruction for many decades. What happens today isn’t an unexpected event but the result of prearranged evil plan. The enemy always wanted to destroy us and he did everything possible to poison our collective mind and to prevent us from making effective defense. White nations could defeat anyone on the planet but they were not ready to stand against this kind of adversary. The main problem for White Race not even this self-chosen tribe but white traitors who willingly work for alien interests (for money or because of perverted mentality). These traitors had been of key importance in destroying our nations. Under the guise of “humanism”,… Read more »

Last edited 30 days ago by Wolf Stoner
Douglas Mercer
Douglas Mercer
Reply to  Wolf Stoner
27 October, 2020 1:37 pm

I did not know that about Verne and Doyle, that is very interesting. And yes, the way our enemies have worked is by a kind of hypnosis of the masses by endless propaganda, always aided by traitors of our own race. In order to win we must break the spell that has been cast on our people by dismantling the Marxist and anti-white world view piece by piece, thus facilitating the racial defense that is required for us to regain our rightful control.

Wolf Stoner
Wolf Stoner
Reply to  Douglas Mercer
28 October, 2020 6:38 am

I had read much of Jules Verne in my childhood. Some of his books I read for 2-3 times. I liked it because of its technical-scientific approach. Verne was very good popularizer of science and I don’t want to diminish his greatness as a writer. But only later I was able to approach critically some of his political views which he inserted in his novels. For example, in his “Mysterious Island” he touches topic of American Civil War. He is unreservedly on the side of the North and promotes this obnoxious dichotomy of “good against evil”. As usual the novel plot had a good negro ascribed with qualities as if he is a Swede. The captain Nemo is an Indian rebel against evil English rule (what a trash, really! Where… Read more »

Douglas Mercer
Douglas Mercer
Reply to  Wolf Stoner
28 October, 2020 5:50 pm

The poisonous mental viruses have been going on for a long time. I remember seeing this commercial as a child and not thinking anything of it. Now I see it for what it is, an attempt by our race’s enemy to implant one world, anti-white propaganda into the minds of youth.

Wolf Stoner
Wolf Stoner
Reply to  Douglas Mercer
29 October, 2020 4:57 am

yes, the usual disgusting marxist trash. We had this kind of propaganda in USSR even to greater extent than you had in USA. All text-books, movies, banners were full of images depicting multinational and multiracial crowds expressing exuberant happiness. But this insanity ended with a total social breakdown and multiple interethnic wars in many parts of USSR (including the newly exploded war in Karabakh). It always happens so. The multiracial society is a nonsense; it newer worked and will newer work. The West is going to collapse and to set yet one great example of the immutability of the Natural Law.

Josef Tone
Josef Tone
28 October, 2020 11:40 am

I think Frank Sinatra symbolized a certain era for many; particularly the post WWII prosperity. However, like virtually every “celebrity” even back then, he was just another one with clay feet. Unfortunately, leagues of entertainers most often attract thoughtless, self-serving, and even destructive, attention-seeking personalities. Individuals who do not fit that mold, but do manage to achieve early success, are usually soon phased out by the motion picture studios, record companies, etc. Still, if they eventually agree to engage in at least some of the recommended actions—such as playing the role of a homosexual or prescribed strawman, dating or marrying a non-white, adopting a Haitian baby, vocally supporting a prescribed politician or movement, etc—will keep them in good standing. A perfect example of this is to compare two popular white… Read more »

Douglas Mercer
Douglas Mercer
Reply to  Josef Tone
28 October, 2020 5:53 pm

Our elites know who to offer incentives to people to conform ideologically, the ones who become part of the herd prosper and the ones who don’t tend not to do as well. In all walks of the life of our elites “right think” is enforced in this way

Josef Tone
Josef Tone
Reply to  Douglas Mercer
30 October, 2020 12:58 am

Yes, and since they’ve really opened up with the racism-psyop and continuously dropping terms like “white supremacy,” it affects every industry and virtually every workplace in the country… if even just to gaslight a company in largely white areas to feel like the’re “too white.” Often these urban corporate workplaces are mostly non-white now, and any white person must always watch their step to not actually get into an argument with any person of a protected class.

Ann T. Zemitik
Ann T. Zemitik
28 October, 2020 5:49 pm

“‘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.”

“Jews have always wanted to mongrelize the in-group until the in-group is no more.”

Well-written article.

29 October, 2020 6:37 pm

This comment is about racial propaganda in a song on a show twenty years after The House We Live In, around 1965.. I still have a vivid memory of it because my sisters and I used to pretend we were singers and sing songs we picked up on TV. I’m fairly sure it was The King Family, which was a huge family of singers from little tots to great-grandparents. Talk about saccharine! You can still see them on a website. They were super-patriots and celebrated Christmas with over-the-top specials.The lyrics of the song I remember went “Red, green, black or white, nothing but reflected light, the Lord is color blind!” I guess they were in sync with the civil rights revolution.