About five months ago I posted a blog piece entitled ‘Exposing the “Nazi” Epithet – Who started it, why, how, and who benefits‘ and I made the point that the National Socialists never called themselves “Nazis”, and that it was created by the enemies of the NSDAP. Who were those enemies? It should come as no surprise when I say that it was primarily self-described “International Jewry”. Nor should that statement be regarded as “hate speech”. It is a fact. It was they who stood to lose ‘big time’ in Germany if Hitler and the NSDAP were to come to power, and if political, economic, social and cultural control (ie autonomy) was restored to the Germans. It was they who were living well in Weimar Germany at the expense of the largely unemployed, and hungry Germans. It was they who for an entire decade or more initiated a smear campaigns against Hitler, and it was they who in 1933 openly declared war on Germany, just as Hitler came to power. It was they who initiated a worldwide economic boycott of German goods and services just as Hitler became Chancellor, and before he was even in full control or had had a chance to actually do anything towards implementing his well published plan for the restoration of Germany. It was no “dark, secret agenda”. Of course, those who stood to lose would call that “evil” and would do anything in their power to maintain that power, would they not? Does anyone honestly believe that they would just say “OK boys, the game is over in Germany, lets go somewhere else, start over and leave those Germans alone now” and then honourably and peacefully bow out and just walk away like good sports? Really?? Well what if they were already well entrenched in most other western (allied) nations with a large power base, lots of resources and politicians in their pocket? And what if Hitler’s plan for German recovery then suddenly became appealing elsewhere? It would really be “game over” wouldn’t it? Do you think they would fold without a fight?
And so it came to pass that, in that beginning in that same year of 1933, many of those “International Jews” fled Germany to their safe havens in France, England and America (especially New York City and Hollywood), and began a worldwide media campaign of “hate” and fear mongering, full of bogus atrocity stories, as I have also previously documented. And I dare say, that campaign of “hatred”, blatant lies and omissions, anti-Hitlerism, and anti-Germanism continues unabated to this day! My saying so is not “hate speech”. It is a demonstrable fact, albeit an uncomfortable fact for some, but a fact nonetheless.
One of the many self-described “Jews” who fled was the famous musician and self-described “satirist” Friedrich Hollaender. I took the following video clip from the alleged “docu-drama” film “Hitler – the Rise of Evil” (2003) which you can find on YouTube. But what I have highlighted here is probably the most historically accurate portion in the entire 4 hour film, which originated as a mini-series that aired in Canada on CBC, and it is a clear example of “hate speech”, which according to Canadian law is a criminal offence.
Dialog from the film:
Friedrich Hollaender: “Everyone’s depressed – bad for the economy but excellent for cabaret. German people don’t need democracy, for God’s sake, they need music, laughter, someone to tell them what to do so they can get in line and follow.”
Ernst Hanfstaengl: “Don’t tell me you’ve become a nationalist?”
Friedrich Hollaender: “I’m a satirist, Ernst. The most dangerous politician of them all. Speaking of humor, I’m going to hear Hitler tomorrow – would you like to come?”
Ernst Hanfstaengl: “The anti-Semite?”
Friedrich Hollaender: ” The National Socialist anti-Semite. We call them “Nazis” just to piss them off. I hear he’s fascinating.”
Ernst Hanfstaengl: “Well, that’s very open-minded of you.”
Friedrich Hollaender: “You mean for a Jew, yes? I’m not supporting him, for God’s sake. I need new material!”
So, according to Hollaender, the word “Nazi” was a “hateful” term created by the self-described “Jews” that was intended to demean and to aggravate patriotic Germans back in the 1920s. And it is still used today in common everyday speech in Canada and around the world, to demean and disparage the Germans (including in the FRG) and to incite hatred against them, as well as, self-hatred, based upon a pack of lies. Moreover, it serves to stifle debate and to cover up the most heinous “war crimes”, mass atrocities and oppression ever committed against a single identifiable ethnic group: the Germans. And did not end with a supposed “liberation” in 1945 either, as I have also previously clearly demonstrated. For those just cluing in, Hitler and the Germans also did NOT want war, had no aggressive plans against her neighbours, nor did Germany start WWII. The rest of the world wanted war, or at least, were convinced over many years of lies and omissions that they must fight and destroy Germany at all cost.
Background Info on Friedrich Hollaender from an entirely mainstream source, written by Alan Lareau:
“Frederick Hollander was born in London in 1896 as Frederick Hollaender, the son of the operetta composer Victor Hollaender, who hailed from Berlin. When the family moved back to the burgeoning Prussian metropolis, the three-year-old boy became “Freidrich.” ”
“The war changed everything: the German monarchy collapsed and gave way to the short-lived democracy known as the Weimar Republic. In the 1920s, young Friedrich became the voice of the new Berlin and its climate that was politically so troubled but artistically vibrant–indeed, much of this creativity seemed to draw its energy from the social tensions of the day.”
[Berlin was epicenter of Jewish controlled and inspired Bourgois decadence, amidst a sea of desperate, unemployed, starving powerless and penniless Germans whose own currency was worthless, and where women and children prostituted themselves in order to survive. Those with access to foreign currency and with hard assets did exceedingly well at the expense of the desperate Germans ~ Ed.]
“…as an outspoken progressive satirist, a jazz musician and a Jew, Hollaender was for the Nazis a symbol of Weimar decadence and intellectual subterfuge. In 1931, he opened his own satirical cabaret, the Tingel Tangel Theater in Berlin, where he spoofed fashions and foibles of the day, including politics. A committed liberal and pacifist, he took a stand for reproductive freedom, women’s rights and economic justice, and he lambasted anti-Semitism and the rising Nazi movement on his tiny stage, while bloody street battles raged outside the doors.
[“Progressive”? For whom? And by whose standards? Who attended his club and his shows? It certainly was not average Germans! ~ Ed.]
When Hitler came to power at the beginning of 1933, Friedrich Hollaender fled to Paris and soon moved on to Hollywood, where he arrived as one of the first German émigré artists on the American film scene and revised his name yet again to “Frederick Hollander.” He soon found a calling as a composer in the music department at Paramount Pictures, where he wrote immortal tunes for Dorothy Lamour (“Moonlight and Shadows”), Bing Crosby (“My Heart and I”), Connee Boswell (“Whispers In the Dark”) and many others. He also quickly achieved fame once again as Dietrich’s composer, writing more immortal film songs for the actress for Destry Rides Again and Seven Sinners. Those musicals featured lyrics by Frank Loesser, and Hollander’s other tunes of that period had words by masters such as Leo Robin and Sam Coslow, but it was to his own lyrics that he made his best numbers–again for Dietrich–in Billy Wilder’s A Foreign Affair (1948). In Hollander’s songs “Black Market” and “Illusions,” the cynical irony of his erstwhile Berlin cabaret background explodes in brilliant fireworks of wit and melancholy.
[Billy Wilder was another German/Austrian Jew who fled to the USA and into Hollywood and later became part of the American PsyOps team that created horror flicks, or so-called “documentaries”, on location, about German concentration camps in 1945 ~ Ed.]
In the ‘40s Hollander moved on to write background scores for Warner Bros. and RKO. His brilliance shines through in films such as The Man Who Came To Dinner, Princess O’Rourke and Berlin Express. For Columbia Pictures, Here Comes Mr. Jordan (1941) was a tremendous success, its music acclaimed as novel and brilliant; his score for the following year’s Talk Of the Town earned an Oscar nomination. Hollander’s greatest opportunity for a full-blown musical came with fellow Berliner Ernst Lubitsch’s 1948 operetta That Lady In Ermine, starring Betty Grable. Unfortunately, Lubitsch died after filming the musical numbers and Otto Preminger finished the work. In the early ‘50s, after Hollander had been working in Hollywood for nearly 20 years as one of its most widely employed film composers, a major musical film that could once more make his name appeared on the horizon: The 5,000 Fingers of Dr. T.
Screenwriter Theodore Seuss Geisel’s basic premise of the project, the conflict between imagination and reality, was also close to Frederick Hollander’s heart. The Cat In the Hat (1957) is Seuss’s most famous portrayal of the violent intrusion of fantasy into the everyday world, but it had been a running theme in Hollander’s own cabaret songs as well. As an absurd nightmare, the story was a distorting mirror commenting on persons and relationships drawn from the mundane everyday life of the young protagonist. Figures from the opening scene–the boy’s mother, the plumber, the piano teacher, even the uncles whose portraits perch on his piano–reappear in new forms in the dream that forms the core of the story, and in this regard The 5,000 Fingers of Dr. T. has been compared to The Wizard of Oz. The closing joke, in which the characters discover inexplicable bandages on their fingers acquired during their dream-world adventures, is a winking homage to that formula.”
A shot digression with a few notes on Geisel aka Dr. Seuss from Truth Out:
“Before many Americans were aware of the calamity confronting Europe’s Jews, Geisel drew cartoons that viciously, but humorously attacked Adolf Hitler and Benito Mussolini. He bluntly criticized isolationists who opposed American entry into the war and who turned a blind eye to the rise of fascism and the Holocaust, especially the famed aviator (and Hitler booster) Charles Lindbergh and right-wing radio priest Father Charles Coughlin – both of whom were anti-Semites – and Senator Gerald Nye of North Dakota, an isolationist leader.
Geisel’s was one of the few editorial voices to decry the US military’s racial segregation policies. He used his cartoons to challenge racism at home against Jews and blacks, union-busting, and corporate greed, which he thought divided the country and hurt the war effort. But Geisel also got swept up by the country’s anti-Japanese hysteria and drew several cartoons, using racist caricatures of Japanese people, depicting Japanese-Americans as traitors to the United States.
In a university lecture in 1947 – a decade before the modern civil rights movement – Geisel urged would-be writers to avoid the racist stereotypes common in children’s books and opined that America “preaches equality but doesn’t always practice it.”
After the war, he occasionally submitted cartoons to publications. One 1947 drawing, published in the New Republic, depicts Uncle Sam looking in horror at Americans accusing each other of being Communists. It was a clear statement of Geisel’s anger at the nation’s right-wing hysteria. But Geisel devoted most of his postwar career to writing children’s books and quickly became a well-known and commercially successful author – thanks in part to the postwar baby boom. He was popular with parents, kids and critics alike. First came If I Ran the Zoo (1950) and Scrambled Eggs Super! (1953).” READ MORE
[It is universally denied that he was Jewish, but his track record speaks otherwise. When they say “Children’s Books” one must read that as “mind control and indoctrination”. But even if not, who hooked him up with the Hollywood film mafia, and who gave him such popularity, and such power to influence young minds, and even adults in America and worldwide? Everything he did, said, wrote, drew, was in perfect keeping Judeo-Bolshevism. Did he criticize Stalin? Did he poke fun at him? Or decry what the Bolshevics did to millions of peasant Christians ~ Ed.]
(Back to Hollaender) ” The composing job was an attractive challenge for Hollander: rather than just using incidental songs, here music would be integral to the plot and conception of the film. There would be huge amounts of scoring, running almost from beginning to end, with two ballets. Initial publicity reported that Hollander had composed an unheard-of 24 songs. It verged on “an unusual children’s opera for adults,” as Hollander called it.
The topsy-turvy brand of humor and caricature that are essential to any Dr. Seuss book found full expression in Hollander’s voice of comic distortion. Geisel’s barely masked allegory of Hitler in the figure of Dr. Terwilliker also recalled the Berlin satires of the Tingel Tangel Theater. References to the German dictator abound, for the film villain is a vain and “crazy” despot who rules by hypnotizing his subjects into blind obedience. His realm is a concentration amp surrounded by barbed wire and illuminated by searchlights, where armed guards salute with raised arms, and the children wear beanies of “happy fingers” signifying mandated joy. Beneath its colorful surface, this is a world of hidden cells and dungeons that are sites of sadistic punishment. At the climax of the film, the deranged leader cries out, “This is my day! Five thousand little fingers! All playing together on my piano! Every finger obedient to the whim of me, the master! Every infinitesimal, microscopic piece of living tissue of those 5,000 fingers cringing and groveling and trembling before me, before me!”
But the film ran deeper than an anti-Hitler allegory; after all, this was the 1950s and the defeat of the Nazis was history. Meanwhile, the atomic bomb (also reflected in the story) had become the more frightening specter. Geisel’s script worked this reference into an all-encompassing anti-authoritarian manifesto. His denunciation of those “who push and shove us kids around” echoed the motto of the satirical journal PM, for which he had once worked. The magazine declared itself “against people who push other people around,” which expressed the sentiments of the composer as well. Geisel and Hollander were kindred souls, and they greatly admired each other’s work on the film.” (Continues….)
And now …back to our film: “Hitler – The Rise of Evil!”
Rotten Tomatoes says “British actor Robert Carlyle stars as the 20th century’s most infamous dictator in this two-part TV biopic. The film covers the life of Adolf Hitler from his childhood to his emergence as absolute ruler of Germany in 1934. Most of the ground covered should be familiar to history buffs: Hitler’s failed efforts to become a great artist, his frustration at watching his adopted country fall apart at the seams during World War I, his resolve to put Germany back on its feet by exploiting the nation’s horrendous postwar economic woes and its ingrained anti-Semitism, his 1923 arrest, the publication of Hitler’s virulent screed Mein Kampf, the growing popularity of National Socialism, and the fatal error made by senile German chancellor Von Hindbenburg (Peter O’Toole) to “neutralize” Hitler … ” blah blah blah
In other words it is a pile of barnyard droppings, lies, half-truths and omissions, intended to reinforce the “official narrative” of Hitler, National Socialism and World War II that people world wide have been conditioned to believe and accept as truth, and to HATE since they first ever heard the name Adolf Hitler, or first saw a picture or video clip of him. And this film might as well have been written by Hollaender and his sidekick Dr. Seuss. It is definitely worth many rotten tomatoes!
“Hitler: The Rise of Evil” as the title indicates is a piece of Jewish hate and lie propaganda”.
“It is a Canadian TV miniseries in two parts, directed by Christian Duguay and produced by Alliance Atlantis. It explores Adolf Hitler’s rise and his early consolidation of power during the years after World War I and focuses on how the embittered, politically fragmented and economically buffeted state of German society following the war made that ascent possible. The film also focuses on Ernst Hanfstaengl’s influence on Hitler’s rise to power. The miniseries, which premiered simultaneously in May 2003 on CBC in Canada and CBS in the United States, received two Emmy awards, for Art Direction and Sound Editing.
The film’s primary purpose is to demonstrate anti-German propaganda.
The actor Robert Carlyle’s outlook and personality does not match Hitler in any way.
Hitler is presented in one scene to hit a dog. In reality Hitler never hit animal and was a known animal friend.
Hitler is depicted as a aggressive, crying, choleric man. In reality his environment reported him to be a friendly man with deep feelings …..” (Continue reading here)
I concur pretty much with them on all points and could add some others too. I am sure that some of my regular readers will chime in with their comments below. But I will add that in terms of the casting, the people chosen to portray Hitler at the various stags of his life, and how they portrayed him, were creepy and that was by design. I don’t believe any authentic speeches were used either. Some others have taken excerpts from this lousy film and it’s horrible Hitler caricatures, to somehow try and cast Hitler in a positive light, but it doesn’t work for me. It’s like putting lipstick on a pig.
The bottom line is, it is overwhelmingly one-sided bullshit that is intended to incite fear, hatred and revulsion, and NOT to inform and to educate. Canada and the publicly owned CBC should not only be ashamed of themselves, but those responsible should be hauled into court, charged and publicly humiliated for “willfully inciting hatred” and “spreading false news” and be made to apologize. Some reparations to the German-Canadian community would also be in order. Indeed, I wish I had a few dollars for every time the media has publicly used the hateful slur “Nazi”, that was created by hateful “Jews” as described by Friedrich Hollaender in the CBC film, “to piss off” the Germans.
Finally, as noted above, the film is readily available all over YouTube. But no one EVER flags such films as “hate speech” or has them blocked or removed due to alleged “copyright infringement” as they do with more truthful films, such as those which I have uploaded, and which were later blocked or deleted. Shame on YouTube!