Saturday, 25 September 2010

I've been watching a lot of French films on DVD recently and can't help but be struck by the extent to which the Muslim penetration of France is reflected in the films released within the last few years.

I provide a list of the films I've watched below, with brief descriptions of their salient features.

The Prophet

The main character is a Muslim Arab who is not particularly religious. When sent to prison, he is coerced into committing a murder by the powerful group of Sicilian gangsters who control prison life. After completing the task, the Sicilians accept him into their group where he does menial work for them. In the meantime, he falls in with other more devout Muslims and, with them, he builds up his own independent criminal operation on the side. Gradually, the balance of power shifts. By the end of the film the grip of the Sicilians has been broken; their leader is humiliated; the main character leaves the Sicilians and joins his fellow Muslims, who are now in the ascendant.

Paris Lockdown

This is a very violent gangster film. A group of French gangsters dominates organised crime in the neighbourhood. A less powerful group of Muslim gangsters is also active. One of the Muslims fails to pay a debt to one of the French gangsters. As a result, he is beaten and humiliated. The nearest the film has to a hero is an independent French operator who is hired to do rough stuff by the various groups of gangsters. He is white but is always seen with black women.

As the film proceeds, the power of the French gangsters ebbs away and that of the Muslims grows. A confrontation is in the offing. The independent contractor realises that the French gangsters are going to be wiped out by the Muslims; he decides to side with them, accepting a contract to kill the French gangster leader. He does so, fulfilling the contract, but later feels threatened by the Muslims himself. The Muslims come looking to kill him, but the final scene shows him having fled to somewhere that looks like North Africa, surrounded by brown people in a primitive-looking town.

Go Fast

The main character is a Muslim policeman. He is good friends with a white French policeman who is killed shortly after the film begins. The Muslim maintains friendly relations with his dead friend's family. The plot involves the Muslim infiltrating a drug-smuggling group. He encounters the criminals who killed his friend and ultimately kills or arrests them. The close relationship with the now husbandless white family is maintained and there is a hint of the Muslim possibly taking the place of the dead white man, acting as a surrogate father, although in the final scene the Muslim goes off with a supposedly American woman.

Army of Crime

A bunch of immigrants to France start up their own resistance cell to fight against the Nazi Second World War occupation of France. In this case the immigrants are mostly brown-skinned Armenian Christians or Jews. They carry out attacks for a while but in the end all are killed or captured then executed. Racist Vichy propaganda against them is broadcast. In the end their names are read out, "Mort pour la France."

Days of Glory

A group of North African Muslims are recruited to fight for France in the Second World War. They are led by a seemingly white officer, but it later emerges that he has a shameful secret: he had an Arab mother and keeps a photograph of her in his shirt. The Muslims do some fighting and help liberate a French town. The French inhabitants are friendly, grateful and welcoming. A white Frenchwoman has sex with one of the Muslims and, after parting, they write letters to one another, which, however, are never received because wartime chaos and censorship intervenes.

Lots of Muslim music plays throughout the film, along with invocations of Muslim prayers and references to Allah. Much of the dialogue is in Arabic.

Later the Muslims proceed into Alsace to hold a bridge against the Germans there. All of the white officers are either killed or seriously injured by mines and the Muslims have to take command. They fight against the Germans and most are killed. The ones who survive, however, are ultimately not given the respect their achievements deserve, implicitly because of French racism.

The Nest

An Albanian mafia leader (Muslim) who is responsible for trafficking white female slaves for prostitution purposes is being transported from one location to another. The members of his gang attempt to free him while a small team of international police tries to fend them off. The main character, the leader of the police troop, is played by Nadia Fares, an Arab woman born in Morocco. She is not portrayed as a Muslim in the film and I'm not sure whether she is a Muslim in real life.

Welcome

I couldn't actually bring myself to watch this one but apparently it tells the story of a kindly French lifeguard who helps a Kurdish immigrant swim across the Channel to enter Britain illegally.

Note this was just a random selection of recent French films that had high enough ratings to seem watchable. I wasn't consciously seeking out films that had islamification or immigration as their themes.

But what is the takeaway from all of this? The theme of brown, Arab Muslims taking over and displacing white, French people is pervasive in recent French cinema. What's particularly striking is that this is never portrayed in a negative light. Often the Muslims are portrayed positively, as in Go West, where the Muslim usurps the father figure role of the dead white cop; or the formerly dominant whites are portrayed as brutal and callous, as in Paris Lockdown and the Prophet, in a way that appears to justify their later displacement by the Muslims.

Cinema creates role models, portraying characters in a heroic light to which the watchers are meant to aspire. In many of these films, the lead characters are either explicitly Muslim or the actors and actresses portraying them are wholly or partly Arab. The Arab immigrant is held up as the role model. This is what young French people are supposed to aspire to. Immigration is portrayed in a positive light and anyone opposed to it is shown as evil and vicious.

The ultimate effect is of almost Soviet-style propaganda designed to depict third world immigration, and the process of islamification, in a positive light. White women are shown maintaining joyful relations with the Muslims/Arabs. Anyone expressing disdain for them is portrayed in a negative light.

Even the story of French resistance to the Nazis, probably the cornerstone mythology of post-war French politics, has been co-opted by the Muslims/immigrants. Telling a simple tale about heroic French men and women opposing foreign invasion is not good enough any more. It seems there must now always be an angle that lets the Muslims/immigrants/brown people get in on the picture.

Yes, it is propaganda but it is not entirely spontaneous, self-generated propaganda by indigenous French people rejoicing at their new state of dhimmitude. French cinema is heavily subsidised by the state. Watch the credits for these films and you will see many mentions of government agencies and bodies who are thanked for providing their support. In fact, the film Welcome won the Lux award from the European parliament, a prize awarded annually "for the film which best illustrates 'the European integration process, topical European issues or cultural diversity in the Union'." The prize money is to be used to translate the film into all languages of the European Union.

What we are seeing in these films is nothing less than state propaganda designed to get Europeans to consent to their own genocide. I, for one, do not consent.

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