Library of Congress Cataloging-in-Publication Data
Keneally, Thomas. Schindler’s List.
1. Schindler, Oskar, 1908-1974--fiction.
2. Holocaust, Jewish (1939-1945)--fiction.
3. World war, 1939-1945--fiction.
The case of one Oscar Schindler, the hero of a Spielberg movie called Schindler’s List, based on the novel by Tom Keneally, proves beyond doubt that Hollywood is truly entitled to its nickname, ‘the dream factory.’ In the case of Schindler’s List perhaps the term ‘the nightmare factory’ would be more appropriate.
Schindler, the latest hero of the Holocaust is presented as a German businessman who, playing the role of Pied Piper, leads a column of poor Jews across Poland to safety after he decides he has made enough brass from slave labour. Much of his wealth was in fact generated from war production and while ever the money was to be made, the German-born Schindler supported the National Socialists. But Schindler was in fact a traitor, black-marketeer, thief, extortionist and paederist who molested young girls who came under his control (children of his slaves).
Schindler’s sudden conversion to “saviour” of the Jews only occurred when he obtained information from senior political acquaintances which confirmed that the war would be over in six months or less. Always managing to stay one step ahead of the police as a result of his criminal activities during the war, Schindler now decided to stay one step ahead of avenging Jews by pretending that he had in reality “always loved them” and was prepared to use all of his ill-gotten gains to help them. Naturally, there is nowhere mentioned in the Schindler saga the fate of the many Poles, Russians and others whom he had exploited and ill-used. They were, after all, only Poles and Russians.
On the other hand the SS leadership in Poland and the Ukraine, while not adverse to working some of their slave workers to death, were fanatics in their determination that German soldiers and officials in the East would not become physically involved with women or girls in the occupied territories. Contrary to general belief rape was punished by firing squad or the hangman’s noose.
Schindler, convinced that his high-ranking friends in the Nazi party would protect him, continued to cut a swathe through the young girls and boys under his control unaware that his activities were the subject of discussion by SS General Heinrich Mueller, head of the Gestapo. Charges of official corruption, theft, brutality towards prisoners, indecent assault towards females and a charge of sodomy under paragraph 175 of the German criminal code were all being prepared against Schindler before the war ended. A letter from the file of Himmler’s security chief, Ernst Kaltenbrunner, confirms this. In view of the increasing doubts about the extent of the so-called Holocaust which are emerging throughout the world it is quite understandable that Zionists choose to ignore Schindler’s less likeable traits and promote him instead as a goy saviour. After all anything that works to make the goyim swallow the holocaust story helps strengthen the Zionist/Israeli cause.
The mere fact that the Zionists chose Spielberg, the master of fantasy to direct this motion picture, says it all. As for Tom Keneally, the creator of this fiction, his record is clear enough. We should remember that this same Keneally was the creator of that other work of fiction The Chant of Jimmy Blacksmith, the supposed story of the half-aboriginal murderer, Jimmy Governor. The subject of that story was a murderous, half-witted thug who like the late, unlamented Oscar Schindler has now been deified through the efforts of Keneally and his ilk.
So when you go to the cinema or take out the video depicting the activities of the “hero” Schindler, just remember you are, by paying good money to see this rubbish, financing the activities of history-distorters and Zionist murderers who have committed crimes as bad or worse than those carried out by the Nazis during World War Two. And if you have doubts about the ability of the Zionists to make capital out of other people’s misery and other people’s fiction, just consider for a moment the extent of the orchestrated propaganda surrounding and promoting this film.
The film involves “historical distortions... It is suggested that the American Civil War was fought principally over slavery, a claim that is patently untrue.” (NN)
“Blacks are accorded an enlarged role in the abolitionist movement... The crucial significance of white Protestant abolitionists is played down and its representatives are unfairly represented either as a chorus of comic evangelists or as cynical calculators... The effect is to distort and sentimentalize history...” (Philip French, Observer, 1 March 1998)
“The idea that the film in itself redresses a historical imbalance and tells ‘the truth’ is nonsense...” (CP)