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Jewish filmmaker lionized death of the West
Gillo Pontecorvo, the Italian-born Jewish film director famous for his "epic" The Battle of Algiers, which applauded the collapse of French rule in Algeria, is dead at the age of 86.
"Despite" having been a member of the Communist Party, which he joined in 1941, Pontecorvo was heralded by corporate media elitists as a "genius" for his portrayals of anti-White violence and promotion of pro-Zionist "Holocaust" propaganda. His The Battle of Algiers won him three Oscar nominations in 1969, including one for Best Director, and he won Venice Film Festival's coveted Golden Lion award. The film, which shows urban guerilla attacks against the French, was also an inspiration to the violent Black Panthers, who screened it as a training film for new recruits.
Pontecorvo was born into a rich Jewish family in Pisa in 1919. He liked to claim that he faced "anti-Semitism" from the Mussolini regime, forcing him to "flee" to France. However, the supposed discrimination sounds far-fetched, since he was allowed to continue as a journalist for two Italian newspapers.
As an exile in the Paris of the 1930s Pontecorvo met and claimed he was influenced by such left-wing cultural luminaries as Picasso and Sartre.
Pontecorvo also liked to claim that he led a partisan band in the north of Italy in the Second World War, where he allegedly had the suitable mysterious codename "Barnaba." This was surprising since he had not joined the many leftist intellectuals of his day and journey to fight Franco in Spain, though he claimed to have been pained at the deaths of his friends there.
Pontecorvo displayed a similar laissez-faire attitude to politics: he left the Communist Party in 1956, when many Jews were abandoning Moscow. Still, he kept a Marxist worldview: "I am not an out-and-out revolutionary. I am merely a man of the Left, like a lot of Italian Jews." Soon after, he directed Kapò, a "Holocaust" drama. (Imagine if he had been a White intellectual who had left the Fascists but still claimed a general affinity for their ideals, and made pro-White films... Somehow we doubt he would have gained Oscar nominations.)
European Marxists were undergoing deep ideological changes in the period, which would eventually grow into "Eurocommunism," a mishmash of theory heavily dependent upon what we now know as "political correctness." Rooted in "identity politics," this thinking championed myths we today know all too well: White people are oppressors of non-White people. In the 1950s and 1960s, the empires of White nations were contracting, and many European leftists cheered on the "anti-colonial struggle" as an opening for revolution at home.
The Battle of Algiers project came out of Pontecorvo's reading of Frantz Fanon, a Black from Martinique who was pandered to by European Marxists as a "great thinker." Fanon's "works" like Black Skin, White Masks and The Wretched of the Earth were basically one-note "hate-Whitey" rants with theoretical-sounding material tacked on. Self-hating Whites, along with anti-White Jewish intellectuals like Pontecorvo, loved it.
The Battle of Algiers was released in 1966, lionizing the Algerian war against France from 1954 until 1962. Shot in black-and-white it is intended to look like newsreel footage, and highlights the supposedly brutal French and the heroic Algerians. The message was so egregiously anti-White and one-sided that it was banned in France, but remains popular in Algeria.
Pontecorvo couldn't leave his anti-White vision out of his projects. In 1969 he directed Marlon Brando in another "anti-colonial" epic, Burn! Ten years later he took on Spain's Francisco Franco in Ogro, and he reprised his Algerian film in 1992 with Return to Algiers.
People like Pontecorvo understood the power of the mass media to influence and demoralize their enemies. His career was certainly effective: instead of France colonizing Algeria, Algeria is now colonizing France, and Whites have internalized the oppression meted out to them by the likes of Pontecorvo.
Gillo Pontecorvo, the Italian-born Jewish film director famous for his "epic" The Battle of Algiers, which applauded the collapse of French rule in Algeria, is dead at the age of 86.
"Despite" having been a member of the Communist Party, which he joined in 1941, Pontecorvo was heralded by corporate media elitists as a "genius" for his portrayals of anti-White violence and promotion of pro-Zionist "Holocaust" propaganda. His The Battle of Algiers won him three Oscar nominations in 1969, including one for Best Director, and he won Venice Film Festival's coveted Golden Lion award. The film, which shows urban guerilla attacks against the French, was also an inspiration to the violent Black Panthers, who screened it as a training film for new recruits.
Pontecorvo was born into a rich Jewish family in Pisa in 1919. He liked to claim that he faced "anti-Semitism" from the Mussolini regime, forcing him to "flee" to France. However, the supposed discrimination sounds far-fetched, since he was allowed to continue as a journalist for two Italian newspapers.
As an exile in the Paris of the 1930s Pontecorvo met and claimed he was influenced by such left-wing cultural luminaries as Picasso and Sartre.
Pontecorvo also liked to claim that he led a partisan band in the north of Italy in the Second World War, where he allegedly had the suitable mysterious codename "Barnaba." This was surprising since he had not joined the many leftist intellectuals of his day and journey to fight Franco in Spain, though he claimed to have been pained at the deaths of his friends there.
Pontecorvo displayed a similar laissez-faire attitude to politics: he left the Communist Party in 1956, when many Jews were abandoning Moscow. Still, he kept a Marxist worldview: "I am not an out-and-out revolutionary. I am merely a man of the Left, like a lot of Italian Jews." Soon after, he directed Kapò, a "Holocaust" drama. (Imagine if he had been a White intellectual who had left the Fascists but still claimed a general affinity for their ideals, and made pro-White films... Somehow we doubt he would have gained Oscar nominations.)
European Marxists were undergoing deep ideological changes in the period, which would eventually grow into "Eurocommunism," a mishmash of theory heavily dependent upon what we now know as "political correctness." Rooted in "identity politics," this thinking championed myths we today know all too well: White people are oppressors of non-White people. In the 1950s and 1960s, the empires of White nations were contracting, and many European leftists cheered on the "anti-colonial struggle" as an opening for revolution at home.
The Battle of Algiers project came out of Pontecorvo's reading of Frantz Fanon, a Black from Martinique who was pandered to by European Marxists as a "great thinker." Fanon's "works" like Black Skin, White Masks and The Wretched of the Earth were basically one-note "hate-Whitey" rants with theoretical-sounding material tacked on. Self-hating Whites, along with anti-White Jewish intellectuals like Pontecorvo, loved it.
The Battle of Algiers was released in 1966, lionizing the Algerian war against France from 1954 until 1962. Shot in black-and-white it is intended to look like newsreel footage, and highlights the supposedly brutal French and the heroic Algerians. The message was so egregiously anti-White and one-sided that it was banned in France, but remains popular in Algeria.
Pontecorvo couldn't leave his anti-White vision out of his projects. In 1969 he directed Marlon Brando in another "anti-colonial" epic, Burn! Ten years later he took on Spain's Francisco Franco in Ogro, and he reprised his Algerian film in 1992 with Return to Algiers.
People like Pontecorvo understood the power of the mass media to influence and demoralize their enemies. His career was certainly effective: instead of France colonizing Algeria, Algeria is now colonizing France, and Whites have internalized the oppression meted out to them by the likes of Pontecorvo.
