http://www.infowars.com/machete-producers-lied-about-racial-violence/
`Machete' producers lied about racist bloodbath
Machete `race war' confirmed as tax rebates still in question for anti-Texas,
pro-immigration film
Aaron Dykes & Alex Jones
Prison Planet.com
Sunday, September 5, 2010
`Machete' reached the #3 spot at the box office opening weekend. But after
viewing the film, it is clear that its producers lied about the extent of the
film's racial message, which includes vulgar atrocities, including the killing
of a pregnant woman attempting to cross the border during one of the opening
scenes. This deception about the film's message could bring its tax incentives,
worth millions in production costs, into question.
When Alex Jones expressed concern in May that a leaked script portrayed white
characters as vehemently racist and wantonly murderous, or that a Latino mob is
roused to take on border vigilantes in racial conflict, director Rodriguez
assured Ain't It Cool News, that he'd `had too much tequila,' and that those
types of scenes wouldn't make it to the final edited version. Producer
Elizabeth Avellan went on the attack just before the release, defending the tax
incentives `Machete' had practically already been assured. Avellan denounced
the `uproar over the film' as "unfounded and unnecessary," stating there was
`no reason for a denial of incentives':
"A lot of people made up a lot of stuff in terms of what the movie is about and
who the bad guy is," she said. "There were a lot of things that people
misconstrued
without even knowing the script and pretending they have a
script."
Now there is no doubt. Everything Jones quoted from the script was on screen in
one form or another and its tone was clear: opposition to illegal immigration
is tantamount to murder, white racism and vile Machiavellian scheming. One
scene that was excised from the script repeated the one-sided demonization of
the Freedom Force vigilantes, who were to murder a young child on the border at
the end. However, that ending was left behind for a different sequence
altogether.
Reviewers like `Big Hollywood' panned the film as `Dull, Convoluted, Racist and
Anti-American,' criticizing that: "'Machete' offers no middle ground, no
reasonable, non-racist position against wide open borders for those fleeing
from what one character describes as the "personal hell" that is Mexico."
Who the illegals fight against on screen is one thing. What their words mean is
altogether something else. That's the shell game Rodriguez plays and his
racially divisive messaging goes way beyond the normal cinematic political
posturing and button-pushing. And you will never see a more stereotypically
racist portrayal of Southerners, who, in an obvious reference to the border
Minute Men, are not only played for cheap laughs but portrayed as sub-human
animals who hunt and murder illegals kill a helpless pregnant woman and say
"Welcome to America."
Rodriguez & crew played everyone as fools, knowing full well what the film
would contain. Does Texas want to subsidize the films of Robert Rodriguez and
continue to give him a platform to spew divisive racially-tinted trash oriented
at Hispanics and attempting to radicalize their views? Rodriguez is the face of
the Texas Film Commission's tax incentives program, and has been virtually
guaranteed up to $60 million in rebate funding for a package of films.
Blood-soaked and dripping with hate
It wasn't the extreme levels of violence or its nudity that made this film so
offensive; it was the one-sided approval of Hispanic revenge killings while
uniformly demonizing the actions of the white groups involved. Though the head
Mexican drug lord was the ultimate enemy, he was served exclusively by white
politicians and radical groups; everyone in `The Network' worked against him.
What's more, the film was marketed towards Hispanic groups, including
widespread promotion throughout Latin America, featuring a poster with an image
of a blood-dripping machete (the symbol of peasant uprising). Now Hollywood's
exports aren't just American cultural hegemony, but a weaponized-subsection of
radicalized Latino culture that draws in crowds by playing to Hispanic
supremacy.
`Machete' star Danny Trejo embraced his image as the `the first Latino
superstar' in an interview with HipHopNation.com, stating "It's an honor to be
considered the first Latino superstar. Or I should say the first Latino action
hero!" He continued:
"I think Hollywood is afraid to realize that the Latino audience is the largest
that they've got. As long as they think that a Latino can't carry a movie, its
going to stay that way. Robert Rodriguez who is innovative and brilliant, he
knows what we've got. The other great thing is that he put some strong Latina
ladies in the movie like Michelle Rodriguez and Jessica Alba. Lindsay Lohan
also stars in the movie and she might as well be Latina (laughs)."
Keep in mind that Fox 20th Century films, a division of Rupert Murdoch's
NewsCorp empire financed `Machete.' Its news division pulled a story
criticizing the film's violent `war on immigration.' While Fox's film division
funds `Machete,' Fox News stokes heat over the Arizona immigration battle and
beyond. At the same time warhawks at Fox News fumed over the Ground Zero mosque
controversy, it was revealed that the mosque is financed in part by a top Fox
News owner (who is Saudi) as well as many top Western philanthropies like the
Ford Foundation, among others. Meanwhile Fox also funds diversity filmmaking
programs.
The Ford Foundation and Rockefeller Foundation have a history of financing and
subsidizing Mexican and Hispanic culture, including radical groups like La
Raza. The Bill and Melinda Gates Foundation have not only given millions to the
National Council of La Raza, but financed minority only scholarships. The Ford
Foundation has also branched out into financing Hispanic and minority-oriented
films, including the 2010 Sundance Institute / Ford Foundation fellowship
initiative.
Why would racist, elitist eugenicists groups like these finance radical
minority movements? The strategy is to divide and conquer, breaking America
into bands of opposing groups.
A D V E R T I S E M E N T
There's not been such an openly racist film in America since the early days of
cinema where the pro-KKK `Birth of a Nation,' and films featuring Charlie Chan
and other "coolies" epitomized a cruder era of filmmaking full of offensive
stereotypes. 70s exploitation films don't come close to `Machete,' despite
inspiring much of its style. Today, such depictions from early cinema have been
denounced. Why then would today's politically-correct culture who denounce
these stereotypes accept and praise a racist filmmaker who pans to the Hispanic
market?
The messages in culture, including how ethnic groups are portrayed, are clearly
important to discuss in our society. Propaganda has been synonymous with films
since the beginning when Soviet propagandists, like Eisenstein, and later Nazi
propagandists, headed by Goebbels, used it as a weapon of cultural influence.
While Rodriguez has a right to make as hateful and racist a film as he dares,
the State of Texas should be hesitant to institutionalize support for his
extreme views, given that the Film Commission has a policy to selectively
refuse funding that depicts Texas in a bad light. The film `Waco' was sent
packing, so why should `Machete' have Gov. Rick Perry's blessing and budget?
Do its themes grace Texas, or glorify a `Reconquista' view of the United States
mainland?
In the Mexploitation film `Machete,' white characters who ran with the Hispanic
crew felt the need to justify their presence. "I was adopted," one Anglo
wanna-be gangster told Machete as he attempted to rally a Latino posse.
Hispanics, like Jessica Alba's character, who worked for the white system as an
I.C.E. (Immigrations & Customs) officer, redeemed herself by betraying "the
law" for "what's right."
Alba's conversion, which ended in her rallying a crowd of migrant workers by
declaring "We didn't cross the border; the border crossed us," was inspired by
Luz. Played by Michelle Rodriguez, Luz operates a taco stand as cover for her
role as head of `The Network,' an underground organization that helps to
transport migrants across the border and situate them within the U.S. Its
influence is channeled through the pervasive myth of Luz's alter-ego "She," the
militant female version of the revolutionary leader Che. `The Network' becomes
a sort of underground railroad for the plight of the immigrant, seeking refuge
from the `Hellhole' that is their collapsing country. In the film, that effort
is thwarted by the white racist Von, who torches her headquarters while his
band of vigilantes called `Freedom Fighters' prepare for their next border raid
to mow down helpless illegal aliens. Von & his boys also conspire with a
crooked state Senator played by Robert DeNiro to construct an electrified
border fence that literally fries trespassers instantly.
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Even the non-violent parts of the film are littered with mini-lectures about
the justification for immigration or on the dignity of brown people and day
laborers. And while the film had plenty of humor, its stab at border issues
was, as Kurt Nimmo noted, anything but satire. It is more of a racial polemic,
fueled by Rodriguez' one-sided philosophy, that declares symbolic dominance
through Machete's mythical exploits and ultimate victory.
What's inflammatory?
- Opening scene where pregnant mother trying to cross the border is killed by
DeNiro and border vigilantes to `prevent another anchor baby'
- A phony campaign ad for DeNiro's Senator McLaughlin depicts hundreds of
crawling worms and cockroaches while decrying the "parasite" immigrant
"terrorists" crossing the border.
- `The Network' of Latinos was continually virtuous while the Freedom Force, a
vigilante group cast with caricatures of hillbilly trash, neo-Nazi types and
fat slobs, repeatedly use terms like "wetbacks," "cucarachas," "parasites,"
"beaners" and more.
- Freedom Fighter vigilantes regularly go out on adventures to snipe at
illegals near the border and film their exploits
- A Catholic priest played by Cheech Marin is crucified by the character
"Booth" who slings racist insults while nailing him to the cross
- A scene in a hospital where it is declared that illegal immigrants are
usually refused emergency care, but Machete is lucky that `The Network' is
there to help him this time. (In reality, the cost of health care for
undocumented illegal immigrants, for both emergency care, births, public
education and beyond is burdensome to every Southern border state, as well as
in many other areas.)
In closing, Fox News writer James Pinkerton has written a news story about
Machete titled "The Reconquista is Here." Let's just hope the Fox executives
don't pull the plug on this one.
