Hollywood’s Jewish Phallocrats

Some of the abuse depicted in this article may be too shocking for sensitive readers. They, and children, should not read it.

by Thomas Müller

LONG BEFORE HARVEY Weinstein sullied the reputations of “White men,” Hollywood Jews in positions of power coldly used women as sexual receptacles. They ruined the lives of countless girls and women who refused, or fought back, and they emotionally damaged those who submitted out of fear or a moment of weakness. The cynical and ambitious White females formed a sick, symbiotic relationship with their abusers.

Upton Sinclair once remarked, “Jewish traders sold Christian girls into concubinage and into prostitution, and even today they display the same activity in the same field in southern California where I live.”

F. Scott Fitzgerald summed up the Hollywood scene of his era: “A Jewish holiday, a Gentile tragedy.” (Gabler, 2)

In the 1940s, the novelist Raymond Chandler was in Hollywood, and assigned to work with Jewish writer and director Billy Wilder. Chandler was appalled by the way the married man would constantly and openly “chat up” young starlets with whom he had innumerable sexual trysts, evidently regarding them as mere entertainment and simply his “due” for being a man of his position (or as one of the “chosen”).

Chandler said he was disgusted by Hollywood’s Jewish elite and later wrote to a friend: “Los Angeles has nothing for me anymore. It’s only a question of time until a Gentile has to wear an armband there.”

When child star Shirley Temple was 11 years old, she was asked to come — alone — into the office of Jewish film producer Arthur Freed to “talk about her upcoming films.” Temple was already one of the most popular stars in Hollywood. She was hardly of an age to even understand the meaning of the term “casting couch,” nor did she particularly need Freed’s favor. But Freed simply couldn’t restrain himself.

According to Temple herself, Freed had only uttered a few sentences about her films when he suddenly exclaimed, “I have something made for just you,” while taking down his pants. As he exposed himself to her, he proclaimed, “You’ll be my new star!”

Temple was protected by her very real innocence of such things, and could only laugh. Her laughter enraged Freed to the point of forgetting all about his sick lust. Temple said that Freed yelled at her, “Get out!” He then shouted, unmindful of his disarray, imperiously pointing to the closed door, “Go on, get out!” (Wall Street Journal)

Harry Cohn (1891–1958), the founder of Columbia Pictures Corporation, was part of the Eastern European Jewish mogulocracy that came from nowhere. Cohn was a tyrant. His temper was his chosen tool for getting his way. Listening devices throughout his studio helped him eavesdrop on subordinates and a sound system allowed him to blast anyone who annoyed him.

Cohn filled his shelves with silk stockings and expensive perfumes. He helped entrench the Jewish systemic abuse of WHites in the movie industry during his four decades in film. From the start, Cohn used his aggression to exert control over female stars. Not only did he force them to change their names and their appearances, but he regularly forced them to trade sex for employment, then scrutinized and even spied on them. He relentlessly demanded that the actress Rita Hayworth in particular “sleep with” him, bugged her dressing rooms, and imposed financial penalties for “insubordination.”

In the words of E.J. Fleming — whose book The Fixers focused on how Hollywood studios controlled their stars’ images — Cohn “was said to have verbally or physically raped every woman that ever worked for his studio.” (emphasis ours)

Early in Marilyn Monroe’s career as a struggling actress, Harry Cohn invited her to an “overnight cruise” on his yacht. Monroe was required to strip naked for Cohn in his office. As she bent over, at his direction, he approached her, penis in hand. When she declined his advances, said Monroe, “I had never seen a man so angry” (Jordan, 91; Wolfe, 211-212). Cohn then “banned her from the [Columbia] lot after she refused to accompany him on a yacht to Catalina Island.” (Leaming, 8)

“You know,” Monroe once said, “that when a producer calls an actress into his office to discuss a script that isn’t all he has in mind…. I’ve slept with producers. I’d be a liar if I said I didn’t.” (Summers, 34-35). In 1955, 20th Century Fox awarded Monroe the richest per-film contract of any actress. “It means,” remarked Monroe, “I’ll never have to suck another Jewish cock again!” (McDougal, 217).

“By 1953,” Ted Jordan reports, “Monroe could be virulently ‘anti-Semitic’ (a sentiment that grew as she got older). To my discomfort, she would sometimes refer to Joe Schenck, the mogul [and another sexual stepping stone], as ‘that Jew sh__’ and to other Hollywood personalities as ‘Jew’ this or that. Occasionally I would have to remind her that I was half Jewish.” (Jordan, 188)

Jewish phallocrat Louis B. Mayer (1885-1957), who co-founded Metro-Goldwyn-Mayer (MGM) studios in 1924, was ground zero of this kind of abuse. He had the means, motive, opportunity and that critical piece of the puzzle: the whip. If women didn’t comply, he’d threaten to ruin their careers or those of their loved ones, according to Variety magazine.

Cari Beauchamp, author of Without Lying Down: Francis Marion and the Powerful Women of Early Hollywood, noted: “Mayer chased actress Jean Howard around the room. When she said, ‘No way,’ and went off and married Charles K. Feldman, the agent, Mayer banned Charlie from the lot. For a long time after, he wouldn’t allow any of Feldman’s clients to work at MGM.” [Another Jew stole his property, you see.]

Mayer also allegedly groped the teenage Judy Garland, according to Gerald Clarke’s book Get Happy: The Life of Judy Garland, and held meetings with the young woman seated on his lap, his hands on her chest.

Claudette Colbert wrote that the only star she knew who had not made it via the casting couch was Bette Davis — and that included herself. Most biographies today describe Mayer as a man who “personally serviced” every actress he signed — hundreds of them.

It was claimed Sam Goldwyn (real name: Samuel Goldfish) of MGM wasn’t really that in to it, but he engaged in these behaviors mostly to keep up with his fellow phallocrats.

Jack Warner (aka Wonskolasor), the driving force and the youngest of the Warner Brothers — there were six in all — is universally described as a horrible man. Film critic and historian David Thomson, who wrote Warner Brothers: The Making of An American Movie Studio for the Yale Press “Jewish Lives” series, stated that Warner was “maybe the biggest scumbag ever to get into a Jewish Lives series.” And that’s saying something!

From the book:

Whenever Warner arrived at a star-studded Hollywood party, the man they called “The Duke” (John Wayne) would angrily storm out. On one occasion when Warner eventually caught up with Wayne, he asked “innocently,” “What went wrong?”

“You screwed me!” said the hardbitten actor, according to Express news magazine.

“Duke, I know,” replied Warner. “But that would have happened anyway. And we’re your friends.”

Cheating and exploiting its stars has been a Hollywood way of life for more than a century, but few studios embraced that sadistic ethos more than Warner Brothers.

In 1956, with movies losing profits to TV, Jack even duped his own brothers, persuading them to sell 90 per cent. of their stock to an investor, then making a secret deal to repurchase the shares and make himself studio president.

Non-Jewish (though an anti-White Communist) film director Elia Kazan once opined that studio heads like Warner “went by a simple rule and a useful one: Do I want to f___ her?” Kazan justified that calculus, explaining: “The audience must be interested in the film’s people in this elemental way…. If the producer wasn’t interested in an actress this way, he was convinced an audience wouldn’t be.” Sure, Elia. Got it. The systematic debauching of our women by Jews even more evil and hostile than you, traitor, was just a way to “please the audience” — they pretty much had to do what they did just to stay in business, because of all those dirty-minded White moviegoers.

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Source: Winter Watch and National Vanguard correspondents