Archives for posts with tag: assassination

The following material is excerpted from my recently published book, Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

front cover

Sirhan Sirhan, the man who has been characterized as both the first “Palestinian terrorist” as well as the quintessential “Manchurian Candidate”, was described after his alleged assassination of Robert F. Kennedy in 1968 as having been “motivated by Kennedy’s support for Israel.” Sirhan is supposed to have written in a notebook, “Kennedy must die by June 5th” (i.e., the anniversary of the outbreak of the Six-Day War in 1967)1. Sirhan retracted his initial admission of guilt in the crime, claiming to have been “hypno-programmed” by the assassination’s plotters. Indeed, more than one researcher has suggested that Los Angeles sex therapist and hypnosis expert William J. Bryan did the programming. “Bryan, a self-proclaimed eccentric character, once boasted to two of his favorite prostitutes that he, in fact, had hypnotized Sirhan and had worked on ‘top secret’ CIA projects,” writes Forgotten Terrorist author Mel Ayton. “Bryan’s most famous hypnotic subject was the notorious Boston Strangler, Albert DeSalvo, whose name appeared in Sirhan’s notebooks.”2

Bryan served as a technical advisor on John Frankenheimer’s film The Manchurian Candidate (1962)3, which is about a brainwashed assassin. Frankenheimer had been a successful television director in 1960 when he declined an offer to work for the John F. Kennedy presidential campaign. (According to Frankenheimer, United Artists executive Arthur Krim had aspirations to become the U.S. Ambassador to Israel, and was reluctant to green-light The Manchurian Candidate for fear it would upset Kennedy; Krim is supposed to have relented, however, after learning that JFK was a fan of Condon’s novel4.) Frankenheimer, who said he “felt guilty” after the Kennedy assassination for not having done the work for his campaign, proceeded to insinuate himself with the Robert F. Kennedy camp: “when his [i.e., JFK’s] brother declared his candidacy in ’68, I immediately called Pierre Salinger and said, ‘Pierre, I want to be part of this.’” “I never left him,” Frankenheimer recalled. “I was there with him for 102 days.”5

frankenheimer

John Frankenheimer

“Bobby became best friends with me,” the director claimed. “He was staying with me in Malibu, and I drove him to the Ambassador Hotel where he was shot.”6 Frankenheimer further related a strange circumstance of this “defining moment” of his life to interviewer Alex Simon. “You were supposed to be up on the dais with him at the Ambassador, weren’t you?” Simon asked. “Yes, then at the last moment, it was decided that having a film director up on stage with him wasn’t the image they wanted, so we had [Kennedy’s labor advisor,] a friend named Paul Schrade, who was about my size and complexion, take my place,” Frankenheimer recounted. “And he was one of the three people shot in the kitchen.”7 Schrade, who survived, has maintained ever since that day that Sirhan only served to create a distraction and that the shots that killed RFK were fired from behind the candidate’s back8.

Ed Sanders, in his biography of Sharon Tate, relates that Sirhan Sirhan, the alleged assassin of Robert F. Kennedy, was reported by the Immigration and Naturalization Service to have been “attending parties on behalf of the Satanist English cult [the Process Church], including one at Sharon Tate’s place.” Sanders points to a possible motivation for the Tate murder that had absolutely nothing to do with some Mansonian (or Bugliosian) notion of an apocalyptic “Helter Skelter” war:

INS criminal investigator Richard Smith’s report stated that an LA law enforcement agency had a female informant who averred that the English Satanist group had commissioned Manson to kill Sharon Tate. […] The reason for the contract […] was “something that she unfortunately overheard that she was not supposed to overhear either in regards to Sirhan Sirhan or about Sirhan Sirhan.”9

Sirhan Sirhan

Sirhan Sirhan

Tate’s acting coach at the time was an Israeli, Zev Lahav, who went by the name “Laurence Merrick” and had been sent to the U.S. to promote Zionist interests10. Lahav, with partner Robert Hendrickson, produced a documentary, Manson (1973), about the Family, which included interviews conducted both before and after the Tate-LaBianca murders. Members of the Manson Family had come to visit the set of Lahav’s previous film, Black Angels, in 1969 – an eerie circumstance considering the race war plotline’s resemblance to the “Helter Skelter” scenario later attributed to Manson by Los Angeles County Deputy District Attorney Vincent Bugliosi, who participated in the making of Lahav’s Manson documentary. Another of Lahav’s films of 1969, interesting in view of his Tate-Manson connections, is Guess What Happened to Count Dracula?, which is concerned with occult ritualism and mind control (and even features a minor character named Sharon) and was filmed at the Magic Castle, which, as Scott Michaels points out in the documentary Six Degrees of Helter Skelter (2009), sits a few dozen yards from the Franklin Garden Apartments where Charles Manson shot Bernard Crowe over a bad drug deal – also very near the Franklin Avenue apartments from which Manson ran a prostitution ring called 3-Star Enterprises.

Frankenheimer, over the course of his career, would direct a number of movies with explicitly Jewish and anti-Nazi themes: The Train (1964), The Fixer (1968), Black Sunday (1977), The Holcroft Covenant (1985), and Dead Bang (1989). Black Sunday, in particular, depicts the Israelis as allies against Islamic terrorism. Indeed, the assassination of RFK, as Ayton puts it, “might be the first act of the tragedy that culminated in 9/11”11.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck – the DEFINITIVE Alt-Right statement on Hollywood.

Endnotes

  1. Troy, Gil. “Understanding RFK’s Assassination as Palestinian Terror”. The Jerusalem Post (June 5, 2013): http://www.jpost.com/printarticle.aspx?id=364591
  2. Ayton, Mel. The Forgotten Terrorist: Sirhan Sirhan and the Assassination of Robert F. Kennedy. Washington, DC: Potomac Books, pp. 6-7.
  3. Vaughn, Robert. A Fortunate Life. New York, NY: Thomas Dunne Books, 2008, pp. 260-261.
  4. “Dialogue on Film: John Frankenheimer”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 96.
  5. Simon, Alex. “John Frankenheimer: Renaissance Auteur”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, pp. 149-151.
  6. Hart, Hugh. “Frankenheimer Knew Period’s Main Players”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 213.
  7. Simon, Alex. “John Frankenheimer: Renaissance Auteur”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 151.
  8. Post, Paul. “Schrade Still Seeks Justice for RFK: Senator Was Assassinated 47 Years Ago, June 5, 1968”. Saratogian (June 5, 2015): http://www.saratogian.com/article/ST/20150605/NEWS/150609842
  9. Sanders, Ed. Sharon Tate: A Life. Boston, MA: Da Capo Press, 2015, p. 266.
  10. K., Rainer Chlodwig von. “Israel, Manson, and Vampirism: The Freaky Life of Laurence Merrick”. Ideological Content Analysis (May 4, 2017): https://icareviews.wordpress.com/2017/05/04/israel-manson-and-vampirism-the-freaky-life-of-laurence-merrick/
  11. Ayton, Mel. The Forgotten Terrorist: Sirhan Sirhan and the Assassination of Robert F. Kennedy. Washington, DC: Potomac Books, p. 11.
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gunman

Sean Penn, who co-scripted, plays an ex-mercenary haunted by his assassination of a Congolese mining minister. Eight years later, now a damaged man in more ways than one, Penn discovers that someone with knowledge of his past has put out a contract on his life. Penn spends as much of the movie as possible shirtless so as to show off his impressive physique, and in one scene even taps into his inner Spicoli and catches a few African waves.

Less incendiary than one might expect for a Joel Silver production, The Gunman is an action movie that wants desperately to be an art film, aiming for poetic moments like that in which a battered and dying assassin is juxtaposed with a matador’s speared bull. The action, once the movie gets around to it, however, should be brutal enough to compensate for the more pretentious material. There is also a love triangle to keep the women interested.

4 out of 5 stars. Ideological Content Analysis indicates that The Gunman is:

6. Anti-tobacco. “That’s really healthy,” Ray Winstone says sarcastically on seeing Penn light a cigarette.

5. Anti-marriage. Penn’s love interest (Jasmine Trinca) regards her creepy husband (Javier Bardem) as a creditor, her loveless wifely duties the repayment of an obligation.

4. Multiculturalist and pro-immigration. European-accented non-white professionals put in a good word for immigrants’ ability to assimilate into western societies. London and Barcelona appear as peaceful and orderly multi-ethnic metropolises. Penn atones for his sins by working to improve the lives of Africans.

3. Ostensibly anti-war. Rape and machete attacks are noted as weapons of war in the Congo. Penn’s combat experience has left him with brain damage.

2. Anti-capitalistic. Corporatocracy is behind the world’s evils, with the “growing demand of the western world” to blame for the Congo’s sufferings.

1. Globalist, giving the false impression that NGOs (non-governmental organizations) are strictly humanitarian and apolitical entities. In reality, NGOs are frequently the unconventional tools of Zio-American foreign policy and therefore have been dubbed “missionaries of empire”. Brit-accented television reporters – still more tools of Zio-American globe-grasping – are presented as reliable sources of information. That the poster has the chutzpah to say both “armed with the truth” and “from the director of Taken” probably says all that prospective viewers need to know.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1R9zWPB

Closed Circuit

Forget neoconservative junk like Zero Dark Thirty. Closed Circuit is the real deal – or, anyway, as close to it as a major motion picture is likely to get in the present climate. After a 7/7-reminiscent terrorist bombing in London, attorneys Eric Bana and Rebecca Hall are assigned the task of defending Farroukh Erdogan (Denis Moschitto), the alleged “mastermind” of the attack. It soon becomes clear, however, that nothing is as it seems in this self-described “conspiracy thriller”, as Bana discovers that the case is “being managed” from above and that the “suicide” of the previous barrister handling Erdogan’s defense might actually foreshadow his own demise. Unremittingly grim and realistically paranoid, Closed Circuit moves at a healthy clip, sustained by the lead actors’ earnest performances, and suffers principally from its anemic chromatic palette and visual drabness.

[WARNING: POTENTIAL SPOILERS]

4 out of 5 possible stars. Ideological Content Analysis indicates that Closed Circuit is:

7. Anti-marriage. Bana is going through a divorce.

6. Feminist. Hall portrays an assertive, tough, and detail-oriented professional woman.

5. Anti-drug. Government patsy Erdogan is a heroin addict who, in the great Islamic fundamentalist tradition, has a drunk driving arrest on his record. The poor quality of the horse made available to him in prison causes him to be nauseous.

4. Anti-racist/multiculturalist. An East Indian complains that he is regularly stopped by police. The War on Terror, Closed Circuit suggests, has exacerbated racial prejudices. The multicultural wealth of London’s Turkish population proves to be an asset to the investigation.

3. Media-skeptical. The British press is characterized as unscrupulous. Closed Circuit strains credibility, however, in suggesting that The New York Times, of all publications – the “newspaper of record” that, for instance, covered up the Holodomor – would be the beacon of honesty in such a scenario, and that one of its reporters (Julia Stiles) would risk assassination to bring the truth about synthetic terrorism to the public.

2. Anti-state. Closed Circuit performs a modest service in mainstreaming the concept of government-instigated terror, with “national security” considerations only masking the cover-up; but the movie stops short of accusing western intelligence agencies of actually commissioning false flag terror attacks. Instead, Closed Circuit presents a story in which MI-5, through “incompetence”, has lost control of its counterterrorism operation.

1. Defeatist. “We’re not strong enough to fight them, are we?”

Rainer Chlodwig von Kook

Assassin

An intriguing feature of Assassin (1986), an enjoyable TV movie written and directed by Amityville Horror screenwriter Sandor Stern, is that it may, in some aspects, serve as a metaphor for Zionist-controlled news and entertainment media, whether this is the film’s intention or not.

Stern, who in recent years has written unimaginative liberal diatribes (“Dear Republican Friends . . .”) at SuicideGirlsBlog, is no friend of gentiles and not likely to have designed his film as a cautionary allegory about Zionist disinformation for the benefit of his audience of action fans; but is it not possible that, perhaps from some sense of arrogant mischief, veteran television writer Stern has facetiously encrypted his film with insights into his medium’s motives?

Sandor Stern

Sandor Stern

Assassin‘s Terminator-inspired plot has CIA operative Henry Stanton (Konrad Robert Falkowski, alias Robert Conrad) coming out of retirement and teaming up with a feminist cybernetics specialist, Mary Casallas (Night Court alumnus Karen Brammer, alias Karen Austin) to stop a renegade government android, Robert Golem (Richard Young), from living up to the title by assassinating all of the figures on its secret hit list.

“The ‘Robert’ I can understand; it’s close to ‘robot’,” Stanton observes. “But who dug up the ‘Golem’?” “Folklore,” Casallas explains. “There was a zealot rabbi in sixteenth century Prague. He created a clay creature, called it ‘Golem’. Brought it to life to protect the Jews from persecution. Ironically, it turned on its creators.” Is Assassin a model of entertainment-media-as-Golem, and has it, too, playfully turned against its masters by giving away something of their game?

assassin2

Robert Golem’s creator is Philip Dewberry, described as an impersonal cipher of a man. “He had no sense of humor,” Casallas recounts, and lived only for experimentation. “How can you work with a man six or seven years and not know him any better than the inside of a television set?” Stanton asks her. “It was three years and he was the inside of a television set,” Casallas answers enigmatically.

Robert Golem, like a walking, talking, CIA-approved television set, is programmed with an agenda and even has a plug that it can stick into a socket to power itself. Though a soulless, inhuman murderer, Golem is charming, seductive, and furtive – silently invading an apartment as a lonely, oblivious woman (Nancy Lenehan) drinks herself into a stupor and watches a romance-oriented game show. As to how something as seemingly harmless as television plays at assassination, just consider the mainstream media’s treatment of “tinfoil hat” (i.e., antiwar) candidate Ron Paul. Robert Golem’s targets, like those of the Zionist news media, are opponents of the military-industrial complex.

The android-Golem, despite being monstrously powerful and virtually impervious, does, fortunately for Agent Stanton, have one physical weakness – its belly. And fortunately for those who abhor what the Zionist-controlled television networks have done and are doing to western civilization on a nightly and unrelenting basis, TV, too, also has a weakness at the center of its nourishment – in that it can be switched off.

white_house_down

Magic Mike himself, big badass Channing Tatum, stars as a Capitol policeman and would-be Secret Service agent who gets his chance to play at the real thing when he and his daughter (Joey King) tour the White House on precisely the day real-life Obama disser James Woods, the devious head of White House security, plans to stage a coup d’etat to unseat President Django, played by Jamie Foxx.

It is appropriate that the opening credits acknowledge a company called Mythology with this lightweight production, considering how White House Down is nothing if not an encapsulation of liberals’ mythologized view of an idealized President B.O., the scholarly man of peace who could solve all of America’s problems if only given enough cooperation and tax revenue. President Django, suitably enough, makes His first appearance in a three-helicopter formation symbolizing the Trinity of His Godhead.

The film follows the basic template of the Die Hard franchise, with a bloodied, battered Magic Mike, complete with soiled wifebeater and an imperiled loved one among the hostages, jumping, running, and dragging himself through historic bedrooms and the obligatory elevator shaft like a younger, sexier, generally less interesting John McClane.

The action is decent, if unoriginal, though there is an admitted joy to the scene of the mild-mannered, bespectacled President Django getting unchained on the White House lawn and hanging out of the window of His chauffeured car with a rocket launcher. James Woods brings a necessary seriousness to the film, while gorgeously quirky Maggie Gyllenhaal, wasted here in the role of a Secret Service bigwig, is at least enjoyable to ogle.

3.5 of 5 possible stars. Ideological Content Analysis indicates that White House Down is:

9. Anti-tobacco. President Django is not a smoker.

8. Anti-Christian. Prominently featured terrorist Killick (Kevin Rankin) has a cross tattooed on his chest.

7. Pro-miscegenation. Magic Mike’s daughter has a crush on President Django.

6. Anti-racist (i.e., pro-yawn). Right-wing white nationalists naturally play a part in the coup.

5. Feminist and anti-marriage. Magic Mike’s daughter not only protects the President, but saves the world from nuclear holocaust. Maggie Gyllenhaal is a strong, self-assured, and independent woman with no need of a man. Her ex-husband was an “asshole”.

4. Egalitarian. President Django deploys a folksy anecdote to explain how poverty causes crime.

3. Antiwar. Refreshingly, White House Down vilifies defense contractors and poo-poos the fearmongering about Iran’s nuclear capabilities. Undermining this show of pacifism, however, is the President’s favorable attitude toward drones.

2. Crypto-Zionist. Conspiratorial mastermind Woods is a fanatical neoconservative bent on destroying Iran. White House Down points the finger not at Israel, however – that country receiving mention only as a signatory to a Middle East peace treaty – but at vague “corporations” and a nebulous “military-industrial complex” with which President Django must grapple. In addition, the implosion of the Capitol dome from a fire inside the building corroborates the official story obscuring the implosion of the Twin Towers and WTC 7, thus diverting attention from any possible Israeli involvement in the 9/11 attacks. Magic Mike’s daughter wears a shirt depicting a squid or octopus to show her solidarity with the forces of the New World Order.

1. Statist. A few bad apples may exist, but government, as personified or deified by Lincoln aficionado President Django, generally has America’s best interests at heart. Racist mercenary Killick, in addition to his cross tattoo, sports an anarchist circle-A on one of his arms. Also demonized are anti-government hackers of the Wikileaks and Anonymous varieties.

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