Walter F Mueller


  14 June 2003

Dear Fellow Patriot!



Let's make this a movie Patriot Letter! Like most of

you, I despise everything that is currently coming out

of Hollywood and most that has come out in the past.

It is nothing but the Jews biggest propaganda machine.


Nevertheless, there are a few exceptions. I've seen

that no one mentioned the passing of Gregory Peck. He

was not as scandal ridden as so many other Hollywood

stars. And there is a movie I really thought was

great: Friendly Persuasion. It plays around America's

early days and Gregory Peck plays a father in a Quaker

family. A young Anthony Hopkins joins him in the cast

and it's one of those movies that is not full of

denigrating slurs against European Americans.


There is another movie that I like, and it was "The

Patriot" with Mel Gibson. Great movie! Go see it



But here comes the good stuff. Carlos Porter and Stan

Hess have told me that there is a movie out that I've

got to see. In addition, I've heard rumors that the

Jews are already trying to get it pulled from the

theaters. It is called "The People I Know" and,

without further ado, here is the movie review, by

Carlton Smith, who is affiliated with National

Vanguard Magazine:



People I Know

You must see this movie

By Carlton Smith


Copyright ©2003 National Vanguard magazine,, Box 330, Hillsboro WV 24946.


IN People I Know, Al Pacino plays a disheveled, middle

aged Jewish publicist in bustling and hectic New York

City. His character, "Eli Wurman" (not to be confused

with 'vermin') yearns to give his life a deeper

meaning by keeping alive his 1960s social activism, as

the world around him becomes less concerned with such



Eli's world is a very Jewish one. His close associates

are nearly all Jewish, and most have gone on to become

very influential in media and politics. Although many

were his one-time comrades in the 1960s 'civil rights

struggle,' most of them today are enjoying their power

and prestige, and no longer find such Black/Jewish

alliances useful.


Mr. Wurman's career is fading. He has become somewhat

of a has-been. Although a Harvard Law graduate, he

remained an activist in social causes instead of

climbing the corporate ladder. While he did make a

healthy income as a publicist to the stars of his day,

many of those stars have since fallen, leaving Eli in

the dark. As his career fades, he continues to buoy

his spirits with political causes.


Eli is concerned about a number of Nigerian illegal

immigrants who are being rounded up for deportation by

the governor of New York. He attempts to use his

skills as a publicist to organize a support rally for

the immigrants. When he turns to his wealthy Jewish

former comrades for help, he finds it increasingly

difficult to garner money and support for the Negroes.

His good friend and doctor, played by Robert Klein,

tells him that since the hard line taken by the

governor he is happy that it is safer to walk in

Central Park.


Al Pacino is masterful in this difficult performance.

Eli Wurman's character is so complex, and Pacino

brings it all together with apparent ease. Wurman's

character is a strange sort of mix between a Mickey

Cantor, a Jerry Rubin and a Charles Bukowski. He plays

a Southern, politically connected Jew who lives and

works in New York City. He is a chronic substance

abuser teetering on the edge, motivated by the Black

struggle, closely tied to powerful New York Jewry and

yet tinged with a Georgian drawl and backward folksy



Where the movie really becomes interesting is when he

meets the influential and politically powerful Jew,

"Elliot Sharansky," played by Richard Schiff.

Sharansky is a former civil rights activist who has

gone on to become a kingmaker in New York City

politics. He, along with many of Eli's former

associates, have formed a secretive big-money Jewish

cabal that influences New York political campaigns.

Among their many dealings, they operate opium dens in

New York City high-rises where they use young White

models as high-priced call girls for themselves and

their political associates, and then take photos of

the illicit acts and use them to blackmail their

friends and rivals alike. And when all else fails,

they resort to murder.


This film shocks the viewer with Jews. It portrays

Jewish corruption and announces Jewish political and

media power with reckless abandon. It drives the

message home with such force that it will penetrate

even the thickest of American skulls, and even the

most television-addled minds that this great wide

country could possibly produce will "get it." It does

all this with a lack of subtlety that might have

offended the sensibilities of Julius Streicher.


Sharansky's character and his organization parallel,

if they are not directly modeled after, Abe Foxman and

the Anti Defamation League of B'nai B'rith: replete

with secrecy, and mob and Israeli ties. Sharansky has

an Israeli bodyguard and Jewish mob cohorts. Sharansky

shows his hypocrisy vis-à-vis the Negro population.

Though a former 'civil rights activist' himself, he is

afraid to meet with a Sharptonesque Black clergyman.

He finally does so with great hesitation, after being

mercilessly cajoled and even blackmailed by his old

friend Eli. When the Negro preacher and Sharansky have

words, Eli breaks it up by saying "We're all on the

same team!" -- a telling remark indeed. They are

eventually persuaded to join together in common cause,

while despising one another, in a public display of

support and feigned concern for the Nigerian



The film highlights many other truths about the Jewish

psyche. Téa Leoni plays a blonde "supermodel" addicted

to drugs who prostitutes herself in one of Sharansky's

opium dens. When she acquires damning information

about her Jewish owners, she is raped and murdered in

such a way as to make her look like a simple victim of



Another important interaction between Jew and non-Jew

is the relationship between Eli and his brother's

widow, played by Kim Basinger. She is a small town

blonde Virginia native who has fallen in love with her

brother-in-law. This love affair is a very realistic

dramatization of the secular Jew's common desire to

mate with a White woman. This is reminiscent of a

scene in the recent militantly Jewish film The Man Who

Cried, in which the main character's Jewish father

emigrates from Russia to become a successful movie

producer, finds a blonde wife, and sires several

blonde children. In this way the Negro and the Jew

actually do have some real-life similarities. While

they have a deep hatred for the Aryan, it stems in

part from a jealous desire to be the Aryan. When one

attains a certain degree of financial success, one

bypasses one's Semitic sisters for a more attractive

White spouse.


This movie also had another important undertone. That

is the growing, but still more or less civil, divide

between the traditional leftist Jew -- the kind you

might find at Pacifica Radio or in the National

Lawyers Guild, here represented by Eli Wurman -- and

the more politically flexible "neo-conservative"

high-power Jews who have abandoned traditional leftist

causes in favor of blatant power grabbing, portrayed

in real life by David Horowitz, Allan Dershowitz, Abe

Foxman et al., and portrayed in the movie by Elliot



People I Know is not likely to be a huge commercial

success. It's a bit too heavy on the dialogue for the

average Terminator and Bowl Game crowd. This, coupled

with the fact that organized Jewish groups like the

ADL aren't likely to stomach this sort of portrayal in

silence, makes me think that the film will not enjoy a

long run.


However, what we have now is a fantastic, but brief,

opportunity to reach the general public with the most

important message we can convey to them: the realities

of Jewish power and Jewish thinking. This movie has

such big names that it will be very easy to convince

the average White person to go and see it, as long as

it remains in the theatres. Everyone reading this

article should encourage everyone he knows to go and

see this movie right away. Simply telling people about

what a great movie it is, and what a phenomenal acting

job Al Pacino has done in it, should be enough to get

any movie fan motivated. One would not even need to

mention politics. The very fact that it was Jews who

made the film makes the message all the more damning.

It can not be written off as mere "anti-Semitism."


People I Know was first released in late 2002 on

airline movie flights, then in Europe and Australia as

straight to video releases. It was screened at the

Sundance Film Festival, where it was warmly received.


Its North American release was held up as a result of

the World Trade Center bombings. Eli's office was in

the World Trade Center in the original shoot. There

was also a scene of the WTC turning on its side in the

original cut. So, they edited and did some retakes to

remove this potentially disturbing element from the

film, and to avoid associating the WTC with the

unethical Jews portrayed as working there.


To see if the general, largely non-political, public

would glean the same message from the film that I had,

I checked the public reviews on the Internet Movie

Data Base, where one reviewer said in part:


I have recently viewed this film and it is pretty good

(7/10). I am not a huge conspiracy nut, however, this

film does paint a VERY dim picture of the (fictional?)

political landscape in New York. At the heart of the

film is a consortium of Jewish professionals who do

all sorts of things to prevent the Mayor's reelection.

It feeds on common perceptions of the Jewish power

system in America; in fact it pretty much

sensationalizes their ominous role. Damn interesting,

but have you ever seen a film that casts the Jewish

American race in a negative light? This would have

been this film.


Apparently Joe Public is getting the message.


I would say that People I Know is the most important

movie of the year. Every American should see this

film. Miramax has done us a great favor here. Let's

get the word out and see that this film does well.


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