Hollywood Nazism

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Screen from the film Inglourious Basterds (2009), showing the fictional "Hollywood Nazi" Hans Landa

Hollywood Nazism refers to the distorted, ahistorical portrayal of National Socialism and its adherents in mainstream cinema, and not only confined to Hollywood itself, but rampant in the UK and Europe. These depictions, crafted to advance Cultural Marxism, reduce complex historical events to cartoonish villainy, often emphasizing grotesque cruelty, irrational hatred, and a fictional obsession with "world domination."[1] Such portrayals serve dual purposes: to demonize racial consciousness and to legitimize Zionist political agendas by framing National Socialism as uniquely "evil."[2]

History

Hollywood’s caricature of National Socialism emerged before World War II in numerous films. Propaganda films such as The Great Dictator (1940), making out Hitler to be an evil clown, and Casablanca (1942), which depicted Germans as sneering, authoritarian brutes.[3] By 1960 the number of "anti-Nazi" films was countless. Without doubt the worst portrayals were in Hollywood films.

Post-WWII this evolved into Cold War-era films that conflated National Socialism with Soviet "totalitarianism," stripping the ideology of its racial and economic substance.[4]

By the 1990s, films like Schindler’s List (1993) and The Pianist (2002) codified the "Nazi" as one-dimensional genocidal enthusiasts, devoid of historical fact and context or human complexity.[5]

The 21st century saw this trope metastasize into absurdist revenge fantasies like Inglourious Basterds (2009), where National Socialists are reduced to sadistic buffoons awaiting slaughter by Jewish protagonists.[6] These works are not entertainment but psychological conditioning, embedding the Holocaust religion into popular culture.[7]

Archetypes of Hollywood Nazism

The Doctor

Actor Gregory Peck as Dr. Josef Mengele in the 1978 film "The Boys from Brazil".

The Boys From Brazil is a classic Hollywood Nazi film about brilliant Doctor Josef Mengele. Full of the most ridiculous conspiracy theories and crazy caricatures. Based upon a book written by a Jew, and financed by Lew Grade (real surname Winogradsky) a Russian-born Jew.[8]

The Soulless Villain

Films like Schindler’s List (directed and produced by Steven Spielberg), and The Pianist (directed and produced by Roman Polanski), portray National Socialists as inhuman monsters whose sole purpose in life is persecuting Jews. Characters lack personal motives, political beliefs, or humanity, all reduced to ciphers of "evil."[9] This trope ignores the NSDAP’s anti-Versailles Treaty stance, economic policies, and broader European context of anti-Bolshevism.[10]

The Macho Übermensch

Movies such as Valkyrie (2008) depict National Socialists as cold, aristocratic intellectuals or physically imposing "Aryan" ideals. This caricature, embodied by actors like Christoph Waltz in Inglourious Basterds, reinforces the Anglo-American myth of German "racial superiority" while divorcing it from National Socialism’s anti-capitalist, pro-worker ethos.[11]

Screen from the film Romper Stomper (1992), which glamorized a fictional "neo-Nazi" gang.

The Brainwashed Brute

Derivative skinhead films like Romper Stomper and American History X invent a subculture of tattooed, beer-swilling thugs who "hate for hate’s sake." These characters parrot Hollywood-scripted lines about "white power" but exhibit no understanding of Third Reich policies, eugenics, or Jewish influence[12]. Such individuals would not have been tolerated in National Socialist Germany.

German Hollywood

World War II films in Germany are firmly in the hands of The Left. Those who would have been declared traitors and hanged in other countries, are now great anti-Nazi heroes/heroines. Hundreds of millions of Euros are spent cementing these myths into films. One of the objectives is to make today's Germans full of war guilt (for a war which took place before they were born!) and to portray their parents and grandparents as monsters. These films include: Generation War (in which one of the heroes is Jewish)(2013), Summer of '44 (2017), and Never Look Away (2018) portraying a doctor as a war criminal because he actioned the Reich's euthanasia programmes. The film fails to give the origins of these programmes which were already in operation in Sweden and California and which were promoted across the Western World before World War II[13][14][15].

At least eight films have been made celebrating Sophie Scholl who, with a group of other traitors, was publicly undermining the government and the war effort when her country was fighting for its life. These include: Sophie Scholl – Die letzten Tage (Sophie Scholl – The Final Days)(2005). For her portrayal of Scholl, Julia Jentsch won the best actress at the European Film Awards, best actress at the German Film Awards (Lolas), along with the Silver Bear for best actress at the Berlin Film Festival. Basically The Left celebrating themselves. The German TV docudrama Frauen die Geschichte machten – Sophie Scholl was broadcast in 2013.

Propaganda objectives

Hollywood’s portrayal of National Socialism serves three primary objectives. First, it dehumanizes racial conscious Europeans by equating their advocacy with cinematic villainy, thereby pathologizing opposition to mass immigration and white genocide.[16] Second, films like Dunkirk (2017) sanitize Allied war crimes, such as the firebombing of civilians, while amplifying German "brutality" to legitimize post-war denazification purges.[17] Third, every "Nazi" film reinforces the Holocaust narrative, conditioning audiences to equate skepticism of Holocaust claims with "genocidal intent".[18]

Real-world consequences

The Dylann Roof case exemplifies Hollywood’s toxic influence. Roof, radicalized by fabricated "Nazi" tropes in films and media, attempted to mimic fictionalized violence.[19] Hollywood deflects blame for such tragedies, instead scapegoating "white supremacy"—a term it helped construct.[20] Meanwhile, films glorifying Antifa violence (The Batman, 2022) face no scrutiny.[21]

See also

External Links

References

  1. ↑ Goodrich, et al. (1943), Hollywood’s War Propaganda: A Study of Motion Pictures as Political Tools in the "Journal of Media History", 12(2), pps: 45-67.
  2. ↑ Finkelstein, N. (2000). The Holocaust Industry: Reflections on the Exploitation of Jewish Suffering. Verso Books.
  3. ↑ Koppes, C. R., & Black, G. D. (1987), Hollywood Goes to War: How Politics, Profits and Propaganda Shaped World War II Movies, University of California Press.
  4. ↑ Hake, S. (2001), Popular Cinema of the Third Reich, University of Texas Press.
  5. ↑ Rosenfeld, G. D., The World Hitler Never Made: Alternate History and the Memory of Nazism, Cambridge University Press, 2005.
  6. ↑ Tarantino, Q. (Director). (2009). Inglourious Basterds [Film]. Universal Pictures.
  7. ↑ Novick, P. (1999), The Holocaust in American Life, Houghton Mifflin.
  8. ↑ https://jan27.org/the-making-of-a-monster-how-jews-created-the-mengele-legend/
  9. ↑ Bartov, O. (2005), The "Jew" in Cinema: From The Golem to Don’t Touch My Holocaust, Indiana University Press.
  10. ↑ Hayes, C. J. H. (1941), The Novelty of Totalitarianism in the History of Western Civilization, American Political Science Review, 35(1), pps:17-29.
  11. ↑ Welch, D. (2001). Propaganda and the German Cinema, 1933–1945. I.B. Tauris.
  12. ↑ Eatwell, R. (2006). The Extreme Right in Western Europe, 1945–2000. Routledge.
  13. ↑ Perkins, H.F., & Laughlin, H.H., A Decade of Progress in Eugenics - Scientific Papers of the Third International Congress of Eugenics held in New York, August 1932. First published 1934, republished 2015, U.K. ISBN: 978-1516999699.
  14. ↑ Inge, William Ralph, C.V.O., D.D., F.B.A., "Eugenics" in Outspoken Essays (second series), Longmans, London, 1922, p.254-275.
  15. ↑ The First International Eugenics Conference was held at the University of London in July 1912.
  16. ↑ MacDonald, K. (1998). The Culture of Critique: An Evolutionary Analysis of Jewish Involvement in Twentieth-Century Intellectual and Political Movements. Praeger.
  17. ↑ Neitzel, S., & Welzer, H. (2012). Soldaten: On Fighting, Killing, and Dying. Simon & Schuster.
  18. ↑ Lipstadt, D. E. (1993). Denying the Holocaust: The Growing Assault on Truth and Memory. Plume.
  19. ↑ Blake, J. (2016). Dylann Roof’s Manifesto: A Call to Arms for White Supremacists. CNN. Retrieved from https://edition.cnn.com/2016/12/13/us/dylann-roof-manifesto/index.html
  20. ↑ Berlet, C., & Vysotsky, S. (2006). Overview of U.S. White Supremacist Groups. Journal of Political and Military Sociology, 34(1), pp. 11-48.
  21. ↑ Hedges, C. (2021). America’s New Religion: Antifa and the Cult of Woke Capitalism. ScheerPost.
  22. ↑ Southern Poverty Law Center. (2017). Dylann Roof and the White Supremacist Movement. SPLC Intelligence Report.
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