henrymakow.com — May 14, 2017
The de facto Communist takeover of the USA is manifested by the fact that 1940’s anti-Communism is portrayed today as a “witch-hunt” and “red scare.”
Hollywood is still pumping out movies like Trumbo (2015) which portray Hollywood traitors as champions of freedom.
Although Communism is fundamentally Cabalist Judaism, some Jews have sacrificed their careers to fight it. One is producer and writer Myron Fagan (1887-1972), right, who wrote two dozen books exposing the true satanic nature of Communism. One is Moscow Over Hollywood (1948), from which an excerpt appears here.
The most successful Communist ruse is that it champions “the underprivileged.” Equality is the pretext the Masonic Jewish bankers use to seize the property and birthright of the goyim. But, since actors are not very smart, there were no shortage of dupes who fell for this ploy. (They sensed this was the way to get ahead.) As this excerpt shows, Hollywood was always a tool designed to enslave the masses to their basest instincts, and their minds to the totalitarian state. It was never intended to be art in the sense of unveiling the universal and uplifting society. The whole point of the NWO is to infantilize us, not show positive role models or a positive vision of life. Luckily there are some exceptions.
Moscow Over Hollywood (1948) Chapter Six
RED REGIMENTATION OF SCREEN WRITERS
By Myron Fagan — (Excerpt by henrymakow.com)
The famous California banker, A. H. Gianinni, who financed many of the pioneer movie enterprises, declared when the film industry was just getting started, “They who control the cinema can control the thought of the world.”
Apparently, the Communists were the first to act upon this recognition and move boldly to establish “world thought-control through monopolistic movie control.’ Back in 1919, when both the cinema and the Comintern (World Communist Organization) were in their infancy, Bolshevik Dictator Lenin declared, in a conversation with his commissar of education, Lunacharski, “You must always consider that of all the arts, the motion picture is for its the most important.”
It was Lunacharski who formulated the Soviet system of education on this basis, “Away with Christianity and the Gospel of love. We must teach Soviet children to hate. We must have hatred and still more hatred. Only by hating can we destroy our enemies and conquer the world.”
In 1925, Willi Muenzenberg, General Secretary of the so-called International Workers Relief, which was a transparent “front” for the Moscow-controlled worldwide Communist propaganda bureau of the Comintern, reported that Communist agents throughout the world had been instructed to “concern themselves more than formerly in turning this weapon (the movies) to their service.’
To utilize the silver screen as a “weapon’ in advancing world revolution, Moscow Reds founded the so-called “cinema bureau’ of the International union of the Revolutionary Theater. This was in 1925, the same year that Comrade Willi Muenzenberg issued this “call to action’ in the Communist Daily Worker published in New York City: “We must develop the tremendous cultural possibilities of the motion picture in a revolutionary sense. One of the most pressing tasks confronting Communist parties in the field of agitation and propaganda is the conquest of this supremely important propaganda weapon, until now the monopoly of the ruling class. We must wrest it from them and turn it against them.’
In 1934, what is described as “a considerable sum of money’ was sent from the Soviet high command for propaganda in Moscow to a Communist in Hollywood. “This sum was to be used for the purpose of creating an entering wedge into the motion picture industry,” according to the report of the Joint Fact-Finding Committee to the 55th California Legislature, 1943.
To gain control of the movie industry, the international Communist conspirators enlisted “revolutionary’ writers throughout the world to write for the film studios. One of the radical writers to be brought into alignment with Communist designs was “John Howard Lawson.”
Lawson is listed 50 times in the records of the House Committee Investigating Un-American Activities, for affiliation with Red-front organizations. The Joint Fact-Finding Committee of the California legislature termed him “one of the most important Marxist strategists in Southern California.”
John Leech, former Communist Party official in Los Angeles County, told a county grand jury that John Howard Lawson had been sent from New York City to Hollywood by the Central Committee of the Communist Party.
According to Mr. Hughes, “The California legislative investigating committee reported that V. J. Jerome “brought John Howard Lawson to Hollywood. He helped organize study clubs and coordinated Communist Party work between Hollywood groups and downtown Los Angeles sections. He was a member of the Central Committee of the Communist Party of the United States, as well as being chairman of the cultural commission of the Communist Party in the United States’.”
The Committee described Jerome, whose true name is Isaac Romaine, as “the American Communist bellwether of the fellow traveling cultural clique’ which acknowledges Lawson as an outstanding leader.
With characteristic Communist intolerance, Lawson lays down the rule that no movie personality has a “right” to call himself “an artist’ unless he is thoroughly committed to serving the Communist cause on and off the screen.
Thunders Lawson, “Unless you portray any role given you in a manner to further the revolution and the class case, you have no right to call yourself an actor. You must do this regardless of what the script says or what the director tells you. Even if you are nothing more than an extra you can portray a society woman in a manner to make her appear a villainess and a snob. And you can portray a working girl in such a way so as to make her seem a sympathetic victim of the capitalist system.”
Lawson delivered himself of these remarks before a class of student actors in Hollywood. This goes far to explain why many young actors and actresses, who obviously do not have “Marxian convictions,’ pose as “dyed-in-the-wool Reds.” They have been sold on the idea that this is the way to get ahead in Hollywood.