Really, why does President Obama refuse to use the words “Muslim” and “terrorist” in the same sentence? Why do so many journalists refuse to distinguish between “Islam” and “Islamism” or to admit that a war has been declared against the West, against infidels, and against civilians by radical Islamists?
Why do all our Talking Heads keep using the utterly useless phrase “The War on Terror”? Why do they insist that because most Muslims are not terrorists, Muslim terrorists are either not (true) Muslims, not (really) terrorists and, even when they have been trained by satellite or on the ground in Afghanistan, Pakistan, Yemen, or Iraq, that they are mentally ill lone wolves?
In addition to all the theories about President Obama being a “Muslim Manchurian candidate,” or at least an anti-American, Alinksy-style socialist/communist, a Jew-hater, or at least a Jewish-state-hater—I think it’s also simpler than that. I bet that both our leaders and our leading journalists all go to Hollywood movies where they are misled and indoctrinated.
The Great Dream Factory is now an Actor in History.
For example, last night I saw Michael Caine’s new movie Harry Brown. Since Caine is a great actor, I’ll see anything he’s in, even a vigilante thriller. The film is gripping, dramatic, “dark,” and well done. It’s about British ghetto youth gangs who sell drugs, guns, and underage women, and who brutalize, even murder the elderly as well. When the police finally, reluctantly confront them—the police lose. These Clockwork Orange-style neo-Nazi-type toughies (all Caucasian, except one) heave rocks, torch cars, throw Molotov cocktails.
To me, it looked like a full-scale Palestinian riot on camera or like all the European-based ghetto Gaza-styled uprisings. Indeed, today in both England and France, the police are understandably reluctant to enter the public housing where mainly immigrant Muslims live. They are the ones who are torching cars, even torching buses. Recently, on May 1, 2010, Parisian bus drivers refused to drive certain routes for this reason. And yet, Harry Brown’s chief villain is an old-fashioned Caucasian pub owner who takes payoffs from the young non-immigrant Caucasian toughs.
Why-oh-why are Western filmmakers refusing to name reality, refusing to name the evil over which we must triumph or die? There are so many Hollywood movies that show America and the CIA as totally evil: Syriana (2005), Charlie Wilson’s War (2007), Rendition (2007), The Kingdom (2007), Body of Lies (2008), Green Zone (2010), The Valley of Elah (2007). Only The Kingdom, and the recent pro-warrior but essentially non-political film, the award winning The Hurt Locker (2008/2009), showed American soldiers as admirable.
Needless to say, on camera, in Hollywood, the Arabs and Muslims are portrayed as charming, sympathetic, totally innocent victims. See the rather well done “Rendition” and Paradise Now (2005 ) for good examples of this trend.