In the film “Guess Who’s Coming to Dinner” (1967) Sydney Poitier’s dad, a retired postman, objects to his son marrying a White woman. “I walked thousands of miles to bring you up and want some say over my progeny.”
The son rejects his father’s claims replying: “Dad, to you I am a colored man; to me I am just a man.”
This seems to be Hollywood’s take on intermarriage and at one level it is true. We are one family, all God’s children. My second wife was a Filipina.
At the same time, I am suspicious of Hollywood’s motives given the fact that the New World Order is intent on dynamiting the four pillars of our human identity: God (religion), race, nation and family (gender) better to control us. They want to define us as producers and consumers.
Yes Poitier’s character is first a man but is that any reason for him to negate his race and culture? Funny how a philosophy that pretends to celebrate differences, actually makes them disappear. If all Blacks and Whites intermarried, both races would cease to exist.
Hollywood studios are owned and financed by mostly Jewish central bankers. Is this their hidden agenda? Some people believe in a “War of the Jews Against the White Race.” They quote a 1952 speech by a Rabbi Rabinovich: “Thus, [through intermarriage] the White race will disappear…and our most dangerous enemy will become only a memory.”
The main objection to this view is that Jews have suffered more than anyone from intermarriage. Since 1965, US Jewish intermarriage has risen from an average of 9% to roughly 52% today. One third of all American Jews couples are intermarried. At this rate, by the year 2040, most of the world’s Jews will live in Israel, the central banker fiefdom where intermarriage is illegal.
I have yet to see a Hollywood movie about a family of European background vindicated for wanting to perpetuate its special heritage. But Jewish families are sometimes an exception.
In the film “Prime,” (2005) Meryl Streep plays a frumpy middle-aged Jewish therapist who practically disowns her son for having an affair with a non-Jewish woman (who also is her client.)
The issue of race is camouflaged as a difference in “faith,” as if the woman couldn’t convert. The Meryl Streep character insists, “Religion is the most important thing in life” though she gives little evidence of this from her own behavior. Being Jewish is portrayed as a matter of family and food.
“It makes sense to marry someone from the same background,” Streep tells her son. “Why start something when nothing can come of it?”
She also refers to the problems mixed couples have. (The divorce rate for Jewish mixed marriages is 60% compared to seven per cent for non-mixed.)
I encourage Jews and everyone else to nurture and preserve their racial and cultural heritage. In “Prime,” a mediocre movie incidentally, the non-Jewish woman finally withdraws because of the “religious” difference, as well as an age difference.
In “Keeping the Faith” (2000) however, a Jewish rabbi played by Ben Stiller actually marries a non-Jew who plans to convert. His mother, played by Anne Bancroft, had disowned his brother for doing this.
But when push comes to shove, mother relents and gives her rabbi son her blessing. So does his congregation, an indication of the ambivalence Jews must feel on this issue. (In Jewish law, “Jewishness” is determined by the mother’s racial background.)
In the comedy “Guess Who” (2005) a Black family voices their objections to their daughter marrying a White man. The father played by Bernie Mack, expresses his preference when he tells a colleague the fiance is Black, a basketball star who just got into medicine and knows the Cosby’s.
“No matter what I say, you’re going to think I’m a racist,” Mack tells his daughter, “but it’s human nature to care.”
The sister says, “Thanks sis! I can crash the car or do anything now. I won’t be the one who brought home a White man.” (Could Whites speak like this in the movies?)
The daughter to her father: “Dad I need you to tell me that this is OK. People look at us as if we were strange.”
There is an edgy scene at the dinner table where the family coaxes the fiance, played by Ashton Kurchner, into telling Black jokes. The first few are good-natured but after one that stings, the father says, “I think I’ve lost my appetite.”
However dad’s reservations are for dramatic effect only. In typical Hollywood fashion, father relents when he learns that Kurchner quit his job over his boss’s opposition to his choice of mate.
Similarly, in “Guess Who’s Coming to Dinner” the white girl’s father does an about-face. While opposing the marriage as “impractical” throughout and vowing to protect his daughter, inexplicably he finally decides the couple’s “feelings are the only thing that is important.”
Feelings are often driven by hormones and have a tendency to change. I would have ordered a cooling-off period. In this story, the couple had been together for only10 days.
But “Father Knows Best” no longer applies. Hollywood preaches a religion of romantic love and rebellion. Sex is the ultimate experience known to man. As a result, all considerations that make us human (like family and heritage) take second place.
In addition, because of Hollywood (and popular music), people have unrealistic expectations of love and sex, which may be a cause of family breakdown.
We hear a lot about brainwashing but we never consider that WE may have been brainwashed. Hollywood is a weapon of mass deception and its policy is to promote racial intermarriage.
Brainwashing is part of a process of colonialism. The whole world, including the US, is being colonized by a cartel of cartels located in the City of London, which owes no allegiance to the UK or any country. This cartel undermines racial cohesion and sows division as part of its imperialistic design for a banker-run New World Order.