INVESTIGATIVE REPORTING and CRITICAL ANALYSIS of the ESTABLISHMENT MEDIA
MICHAEL A. HOFFMAN II, Editor
Former reporter for the New York Bureau of the Associated Press
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Dec. 11, 1999
I don't want you to get Fred Leuchter fatigue, but the growing controversy surrounding Jewish filmmaker Errol Morris' movie about Fred and the revisionists, "Mr. Death," is not going to go away.
Morris is between a rock and a hard place. On the one hand he is telling the avant garde and the Jewish community that revisionists are either Nazis, anti-semites or, as he stated at a Dec. 9 Los Angeles screening with regard to Leuchter, "insane."
That wasn't what he was saying to Ernst Zundel when he was wheedling an on-camera interview and it's not even what he told the avant-garde arts magazine, "Bomb" earlier this autumn (see the Dec. 8 HOFFMAN WIRE).
On the other hand, Morris is probably tempted to hew to the original artistic impulse that I like to think initially motivated his fascination with Leuchter and Zundel. He ought to live up to his own press releases about his supposed fearless iconoclasm, instead of doing an about-face and pandering to Jewish zealots out of fear for his own skin.
The fact is, Morris has a problem. However imperfect, "Mr. Death" is not the usual Hollywood take on revisionism. Morris has given the masses a dollop of the genuine article, instead of fetishizing and burlesquing revisionist views through scripted dialogue via actor-mouthpieces.
In an era of overwhelming falsification, even a dollop of truth can make waves. Such waves can "rock the boat" and destabilize careers, even the careers of celebrated documentarians such as Errol Morris.
And that's where a Catch-22 enters the fray. Morris is a lot smarter than most of his peers in the entertainment industry. He's ahead of the pack, since he knows that through the Internet and the dogged persistence of revisionists themselves, some of the revisionist message has leaked out and that message bears no resemblance to the version neatly packaged in previous, highly colored, made-for-TV docudramas and 'news' programs.
On the other hand, the doctrinaire kings of the deal running the show at the Wiesenthal Center, the ADL and the aptly named "Dreamworks" studio, are so smitten with their own success and the fawning of their corps of media dorks, that they don't believe that even a cubic centimeter of reality should be conceded to revisionism.
If these guys were to make a documentary about Leuchter it would be done in the vintage "Nightline" and 20/20 style--with jump cut editing that would make nerdy Fred look like the heir apparent to Adolf Eichmann.
But these days such overkill is no longer effective and the smart money like Morris know it. Still, it took the Israelis 40 years to produce a Jewish head of state who finally got it through his head that the Palestinians were a formidable subject people who could not be holocausted indefinitely if the Israelis wanted to build anything resembling a modern state. The Zionist 'war hero' who faced that pragmatic reality and did something about it--Yitzhak Rabin--was shot to death by one of his own citizens.
Thankfully, Morris probably doesn't face anything like Rabin's fate, but he can look forward to the possibility of boycott and the drying up of production money and distribution outlets if the powers-that-be decide that "Mr. Death" undermines the slightest sacred tenet of Holocaustianity.
Morris would want to avoid such a denouement at all costs and his increasingly shrill attacks on revisionism and even Leuchter himself reflect the degree to which Morris holds to an axiom that is denounced by media dorks as "anti-semitic"--that Jewish power determines the success or failure of the careers of American filmmakers. If this were not true, Morris would not be of late calling Leuchter "insane."
"Mr. Death" shows that Fred Leuchter is not a "hater," a neo-Nazi or any of the other pat categories that religious fanatics are impelled to fit heretics into. The religious fanatic spends his life running from any serious consideration of the skepticism of the doubting Thomas and to justify this flight from reality, the doubter must be blackened as a fiend.
The great danger to Jewish orthodoxy posted by "Mr. Death" rests in the fact that it represents a crack in the monolithic dogma which all public Jewish figures have maintained about revisionism--that we are all channeling der Fuehrer, or otherwise possessed by some demonic spirit from the lowest region of hell.
Along comes eccentric tinkerer Fred Leuchter, one of a long line of Yankee mechanics and putterer types who are indifferent to the restraints which politics, race and religion impose on lesser men. Morris did not diabolize Leuchter in the film. As a result, audiences will inevitably think, "That could be me." And that's dangerous thinking indeed, just the kind the High Priests of Holocaustianity have been seeking to avoid via censorship, social ostracism and stigma, blacklisting, jailings, bombings and in the case of revisionist Francois Duprat, even murder.
Morris did not demonize Leuchter in the film, but he is slowly creeping toward demonizing him outside the film, in order to salvage all those things which "anti-semites" know from experience are destroyed when one confronts Jewish power and self-delusion.
Morris has riven the curtain on the holy of holies and he must be sweating. That's why he re-made the Leuchter film, after its Harvard screening, making it "tougher on revisionism", as he admitted to "Bomb" magazine, as reported in THE HOFFMAN WIRE.
Anxiety is no inducement to clear thinking or cool calculation however, and now, thanks to the Internet and the kind of dynamic activism that the best revisionists have always embodied, he's beginning to get caught in the tangled web of deceit he thinks he needs to weave in order to save his career.
California-based revisionist researcher Russ Granata read The Hoffman Wire in which I reported that Morris admitted to interviewer Margot Livesey that he made two versions of "Mr. Death." He confessed that he re-edited it into a second version (the one now being shown) after the first version was screened at Harvard and caused most of the audience to begin asking revisionist questions.
As you read the exchange between Mr. Granata and Mr. Morris as it unfolded in front of the Los Angeles audience that had just watched "Mr. Death," note the haughty condescension Morris exhibits in likening Granata's legitimate question about multiple versions of "Mr. Death" to a jokey conspiracy theory about "secret versions."
Ever since 1965 and the publication of Richard Hofstadter's book, "The Paranoid Style in American Politics" establishmentarians have equated any searching criticism of the radix of core establishment dogmas with mental illness.
Hofstadter, the true-believer in the System's infallible goodness, could not comprehend the populist uprising against Freemasonry in the early American Republic, in the wake of the 1826 masonic assassination of writer William Morgan, so he labeled the revolt an expression of "paranoia" and then found a pattern of this recurring "illness" throughout American history, whenever any fixture of the establishment faced rebellion or fundamental challenge.
Hofstadter was a flak for the state and what he was really practicing was the "Imperial Style in Establishment Politics" where elitists speak to an "in" crowd that has been domesticated by years of TV-spectating and indenture to liberal colleges and universities.
Errol Morris has adopted this imperial manner in speaking over the heads of the unwashed to an in-crowd who respond to cues rather than facts and data. One such cue is to smugly dismiss as conspiracy theories tough questions posed by doubting Thomases.
This technique worked reasonably well a few decades ago when most everyone accepted that John F. Kennedy was killed by one lone nut and one very talented rifle bullet, but the bloom has been off that rose for some time and such tactics are no longer sufficient for silencing trouble-making skeptics in 1999, especially when those skeptics are informed by breaking news from colleagues in the revisionist Internetwork.
From: Russ Granata : "I rose, and clearly said, 'Mr. Morris - how many versions do you have of this film?"
"His response was, 'Oh, you mean the 'secret ones' - ha-ha - no, this is the only version.'
"Wait a minute,' I replied, 'the word is out on the Internet that there was a Harvard University screening - is what we have just seen the same version as the one you showed at Harvard?'
"Morris said, 'No.'
"I responded, 'That's what I thought!' and sat down to the sound of distinct positive reaction from the audience in my favor." <end>
Hooboy! Morris is caught in a lie in front of a large L.A. audience. The would-be arbiter of what is true and what is a hoax is shown to be capable of a wee bit of humbug himself, all in order to ingratiate himself with the powerful moguls that it would be anti-semitic to call Jewish.
How sweet it is to be a revisionist at the end of this Jewish century! Our careers have already been wrecked. We've nothing to lose and we can breezily tell any commissar to shove it, if they don't like the brutal truths we retail unflinchingly in our own books, videos and websites.
All the money in the world cannot buy the experience of total freedom that comes of such merry defiance! It is a sensation poor Mr. Morris, with all his funding and prestige, will never know, unless he too grows himself a pair of testicles.
Michael A. Hoffman II
Copyright Â©1999 hoffman-info.com
Hoffman is a former reporter for the New York bureau of the Associated Press. He edits Revisionist History newsletter and is the founder and president of the Campaign for Radical Truth in History.
For more about the masonic assassination of William Morgan, an audio-cassette of Hoffman's speech, "Freemasonry in Early America and the Anti-Masonic Opposition" is available for purchase online at: http://www.hoffman-info.com/cgi-bin/store/commerce.cgi?item=46
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