Eye on Hollywood
Reel Bad Whites
Edmund Connelly
July 28, 2008
As I wrote back in early June, Arab-American professor Jack Shaheen has long been concerned about the consistently negative images Hollywood comes up with when portraying Arabs. Over the years he has written three books on the topic: The TV Arab; Reel Bad Arabs: How Hollywood Vilifies a People; and Guilty: Hollywood’s Verdict on Arabs After 9/11. In the massive second book Reel Bad Arabs, he canvassed 900 films, “the vast majority of which portray Arabs by distorting at every turn what most Arab men, women, and children are really like.”
Shaheen was wise to point to the selective framing of Arabs and how it is repeated endlessly. Naturally, such repetition has a goal, one captured in an old Arabic saying: “Al tikrar biallem il hmar. By repetition even the donkey learns.”
With respect to an ethnic group—nay, a whole race—closer to my own heart, I worry about the images of the white majority. You know, the Leave It to Beaver types that we were (and were surrounded by) in our youth.
Hollywood, it seems, has not favored us over the last half century or so. Either they supplant favorable white images with favorable images of African Americans and more recent Americans such as Jews. Or they create images of whites that are far more negative than typical of the first half of Hollywood’s existence. Why the change?
Further, why has the “reel,” or contrived studio image of whites, especially men, taken such a hit? Have whites really become that bad? Or have we always been evil, but our oppressive powers hid that truth?
Allow me to illustrate. Consider the following actual, or “real,” stories:
The Ithaca Christmas Massacre of 1989: Ithaca, New York, home to Cornell University, is small, like many such towns in the Finger Lakes region. A white man, Tony Harris, married with two children, felt it was a good place to raise a family. Unfortunately, he, his wife, son and daughter were murdered there three days before Christmas 1989. Sixteen-year-old daughter Shelby was raped before she was killed. The suspect was African American Michael Kinge. Records indicate that Kinge had ridden his bicycle to the country setting of the Harris’s home, assaulted them with a gun, then tied all four to beds in two upstairs bedrooms. He shot all four, then attempted to dispose of the evidence by burning the bodies.
The Wichita Massacre of 2000: Pat Buchanan was one of the few nationally-known personalities to reference the Wichita Massacre of 2000. In his book The Death of the West, he described the crimes that took place on the night of Dec. 14, 2000:
Five young people were at a party when their home was invaded by brothers, ages twenty-three and twenty. The five were put into a car, driven to an ATM machine, forced to withdraw their money, and taken onto a soccer field. The two women were forced to strip and were raped. Then the victims were forced to have sex with each other at gunpoint. All were made to kneel down. Each was shot in the ear. The three young men and one woman died. The other woman, left for dead, ran bleeding and naked for a mile in the cold to find help, as the brothers drove back to ransack the house.
One of the victims had decided to become a priest. Another had bought an engagement ring and was about to propose, but “in the minutes before he died, Jason Befort was forced to watch as the woman he hoped to marry was raped.”
The Knoxville Torture Murders of 2007: On the night of January 6, 2007, a young white couple, Channon Christian, 21, and Christopher Newsom, 23, were on a date. On the streets of Knoxville, they were allegedly carjacked by black men, then kidnapped, beaten, gang-raped, tortured and murdered. The national press was silent.
As with the Wichita Massacre cited above, Hollywood wanted nothing to do with the story of black men anally gang-raping a 23-year-old white man. They did not want to graphically portray black men pouring cleaning fluid down Ms. Christian’s throat after orally, anally, and vaginally gang-raping her. Nor did they want to discuss how Newsom’s body, with “multiple gunshot wounds,” was discarded and set afire next to railroad tracks. Ms. Christian’s body was found wrapped in garbage bags in a trash can. Some have suggested the body had been dismembered.
Now consider how Hollywood portrays interracial crime:
A Time to Kill (1996): In A Time to Kill, two Southern rednecks, dirty and disheveled, race their souped up yellow pickup trick across the red dirt of rural Mississippi. Sweaty and drunk, they hurl a full bottle of beer at black youths innocently playing basketball outside a small grocery store. Inside the store, the rednecks cruelly harass the long-suffering blacks of the neighborhood, including a young black girl.
Walking home alone along a country lane, groceries in hand, the girl is struck down by a can of beer thrown by one of the rednecks. As the bag of groceries flies out of her hands, a broken egg on the ground with its yoke running into the dirt symbolizes what is about to take place with the girl. Lying prone on the ground, she is filmed from various angles as the two white men take turns brutally raping her. Once finished, the men intend to leave no witness alive, so they roughly fit a rope around her frail neck and lynch her.
Déjà vu (2006): This film portrays a young white self-styled “patriot,” not unlike executed Oklahoma City bomber Timothy McVeigh. The villain here has planted a bomb on a New Orleans ferry, killing 543 innocent Americans in the process. The scene accesses Americans’ memories of three traumatic events—the Oklahoma City bombing, 9/11, and Hurricane Katrina (complete with its overtones of racist whites).
A previous victim had been a beautiful young African American woman brutally butchered by the white man. He tied her hands behind her back, placed a burlap hood over her head, then poured gasoline over her in preparation for her immolation. Next, he sadistically brandished pruning shears as he approached the thrashing black captive, slowly picked up her hand and cut off the fingers of her right hand in order to remove evidence from under her fingernails.
Transforming Politically Incorrect Reality to Suit Hollywood’s Anti-white Agenda
But It goes beyond creating fictitious cases of whites preying on blacks. Hollywood has taken real cases where blacks have brutalized whites and portrayed them as the exact opposite: White men brutalizing innocent blacks.
For instance, in October 2001, African American Chante Mallard, a young nurse’s assistant, hit a homeless white man, Greg Biggs, leaving him half lodged in her windshield. Ms. Mallard then drove home, parked her car in the garage, and left Mr. Biggs stuck in the window. For two days she checked on Biggs’ condition, talked to him, and when he finally bled to death, she and her boyfriend dumped the body in a park.
Hollywood transformed this into an episode of CSI: Crime Scene Investigation as well as a film. In the CSI episode Anatomy of a Lye (the twenty-first of the second season), the driver became a white lawyer. In the 2007 film Stuck, Mena Suvari, the actress who played Lester Burnham’s blonde, blue-eyed high school love interest in American Beauty, starred in the role of Ms. Mallard.
The film was directed and co-written by Stuart Gordon, a Jewish American who has evidenced a highly critical view of majority culture, beginning with his founding of Screw Theater in 1968 and an adaptation of Peter Pan that featured nudity and hallucinogenics, for which Gordon was arrested. His Organic Theater Company later staged Sexual Perversity in Chicago.
Hollywood, of course, has not limited its inversions of politically incorrect reality to portrayals of white-on-black crime. A plethora of films have portrayed women or African Americans in high-status positions such as doctors, lawyers, or professors that were traditionally dominated by white males. An exception — until recently — was that Hollywood continued to portray airline pilots as white males. But even here, Hollywood now often shows a preference for women or African Americans as pilots.
For instance, in Turbulence (1997), a blonde flight attendant flies a 747 while a crazed white man played by Ray Liotta stalks her. In the Tom Hanks flick Cast Away (2000), we see both a female and a black pilot. And in a related theme, Jodi Foster plays an aeronautical engineer in Flightplan (2005). This, of course, is all part and parcel of the forward march of multiculturalism in the United States, as in the West more generally.
Another common example is for a Jewish character to rescue people in distress. A classic in this genre is the 1996 film Independence Day, which starred Jeff Goldblum as a hero fighter pilot along with African American Will Smith. (In this film, President Thomas J. Whitmore was still played by a white man; but, as we all know, portrayals of blacks as president have become commonplace, to the point that such portrayals have been suggested as paving the way for Barack Obama’s looming presidency.)
It is so common for Jews to be such heroes in film that one film expert has created a category specifically called “Jews to the Rescue.”
Then of course there are the numerous films in which the engineering genius is played by a black. One genius that comes to mind is Dr. Miles Bennett Dyson, “the original inventor of the neural-net processor which would lead to the development of Skynet, a computer A.I. intended to control and defend the United States, but which would later seize control of the world and launch a global war of extermination against humanity.” His appearance, of course, was in Terminator 2: Judgment Day.
Speaking only for myself, I fear that such fictional images of the dispossession of white males signal a real desire on the part of some segments of society to dispossess white males in real life. What then will future films look like when in fact the majority has been eclipsed?
Locust says: lets not forget, Day after Tomorrow, The Happening, every single Mass destruction movie involving asteroids hitting the Earth, and at least four dozen recent Hollywood movies showing White America under distress, and whitey getting whats coming to him. I call these Kill Whitey Propaganda.
Racial Double-Standards: How the Media Ignores Anti-White Racism
By Michael D
A black Harvard Prof. said live on C-SPAN: “We have to exterminate White people.”
Quanel X on O’Reiley: “if you find any good White people, kill them now.” There seems to be a double-standard in America today where the elements of free-speech and media collide. Unless you’ve been living on a deserted island in the middle of the Atlantic for the past week, you know all about the Imus fiasco. What Don Imus said is considered to be racist, sexist, and intolerant to the Black community, and to a point, they’re correct. But, what happens when Black personalities use racist remarks on television and radio? What most people are unaware of is that there have been Blacks that have used racist and down-right hateful language on television as well. On October 14, 2005 and Black Professor by the name of Kamau Kambon, while addressing a panel at Howard University Law School, used these words live on C-SPAN: “We have to exterminate White people off the face of the planet.” During an interview on the O’Reilly Factor with Bill O’Reilly, a Black author and radio personality named Quanell X made these extremely racist remarks: “I say in the words of Malcolm X, if you find any good White people, kill them now before they turn bad.” There was no media backlash. No pickets. No “Stop the Hate” marches. And there certainly were no live media conferences discussing hate and racism in the media as there was for the Imus comment. Today, media outlets across the country are talking about why Imus was fired from MSNBC. It seems that they think it’s for political reasons. The simple truth of it all is that Imus’ remarks have made such a stir simply because he’s White. The ugly double-standards monster has raised its head yet again. Do you think that if a Black personality had used the term ‘nappy-headed hoes’ while discussing the Rutgers Girls Basketball Team there would have been the same reaction? Better yet, would there have been any criticism on a Black personality for saying the same thing about an all White girls team? If the media will ignore a Black personality that says, “..if you find any good White people, kill them now before they turn bad.”, or “We need to exterminate White people off the face of the planet.”, wouldn’t it be fair to say there is indeed a double-standard against Whites where racial matters are concerned? The awful truth that we all should speak loudly about is, yes. I’ve mention only two examples of this double-standard. There are hundreds more on TV, radio, and even big budget movies. Speak up against it if you truly believe in racial-equality.But don’t take my word for any of this. I urge everyone reading this to do your own research. Look up the Wichita massacre where six white people were brutally raped, robbed, and murdered during a home invasion in the Winter of 2000 in Wichita, KS by two black brothers named Reginald and Jonathan Carr. Also the recent carjacking that led to the double-murder of a white couple barely in their 20’s named Channon Christian and Christopher Newsome in Knoxville, TN in January of 2007. Their killers, 6 African-Americans, raped, dismembered, and murdered both of them. Neither of these atrocious murders made the slightest dent in the airtime of any of the “big 3″ (FOX, MSNBC, CNN). Why? That’s for you to decide.
NBC’s Law & Order: Anti-White Propaganda in the Culture War
It’s 10 p.m.; do you know where the truth is? While the mainstream, socialist news media lurch from one embarrassing scandal to another, social engineers operate with impunity, using “realistic” entertainment programs as propaganda tools.
Consider NBC’s Law & Order. L&O’s liberal producer, Dick Wolf, controls a stable of five crime-oriented shows (also Law & Order: Special Victims Unit, Law & Order: Criminal Intent, L.A. Dragnet and Crime & Punishment), making him one of the most powerful men in Hollywood.
For years, Law & Order, which is filmed in Manhattan, advertised its episodes as being “ripped from the headlines,” a claim Wolf and star Jerry Ohrbach still make in interviews. But instead of depicting reality, Wolf’s scriptwriters take high-profile crimes committed by blacks, and replace the bad guys with whites, and invent white racist monsters that bear no relation to anything seen in New York during the past 100 years. And so, while according to NYPD crime reports, over 89 percent of suspects in violent crimes are black or Hispanic, L&O presents a looking-glass world in the grips of a white crime wave.
In “Teenage Wasteland,” an episode that originally aired on February 7, 2001, the true case of a group of black teenagers who ordered Chinese food, and murdered the delivery man, is turned into a group of middle-class, white kids.
“Myth of Fingerprints” (November 14, 2001) tells of a white, female forensics chief whose years of false testimony has sent many innocent men to jail. One of those innocents was murdered in prison, resulting in the official’s conviction for manslaughter.
“Fingerprints” was clearly based on the real case of former Oklahoma City supervising forensic chemist Joyce Gilchrist, nicknamed “black magic,” based on her longtime success at bringing about convictions. On September 25, 2001, as Ken Raymond reported the following day in the Oklahoman, “Oklahoma City Police Chief M.T. Berry … fired forensic chemist Joyce Gilchrist, whose lab techniques and testimony have been under scrutiny by federal, state and local investigators for several months.
“Gilchrist, 53, was fired for a variety of reasons, including ‘laboratory mismanagement, criticism from court challenges and flawed casework analysis,’ according to a police statement.” (Registration is required; see the Oklahoman’s Joyce Gilchrist file.)
For years, Gilchrist’s critics claimed she had falsified evidence and given false testimony, which caused 23 men to be sentenced to death, eleven of whom were executed. Note, however, that Joyce Gilchrist is black, and unlike the fictional white official, has never been prosecuted.
Seven months after the October, 2002 Washington, D.C. sniper case was closed with the arrest of suspects John Muhammad and Lee Malvo, L&O dramatized the case, but with the shooter as a white man! (“Sheltered”; May 14, 2003.)
“Smoke” (May 21, 2003) opens with the death of a child, whose adoptive father, a famous entertainer, had dropped him, while dangling him from a hotel room window. The detectives eventually discover that the entertainer would also arrange for underage boys to accompany him to his mansion, where he would sexually violate them.
When I told a not particularly media-savvy neighbor who is the mother of four small children that story line, she immediately said, “Michael Jackson!” But on L&O, the character is depicted as a WHITE comedian.
Remember the Danny Almonte case? Almonte was the 14-year-old Dominican fraud who — through the connivance of his father, Felipe de Jesus Almonte, and Bronx-based, Dominican Little League coach Rolando Paulino — passed himself off as a 12-year-old, in order to play in the 2001 Little League championships. But in “Foul Play” (May 1, 2002), the coach magically becomes a blond-haired, white man, who is somehow convicted of a murder committed by the player’s father.
L&O’s creative team must read some interesting publications, since many of their “ripped from the headlines” stories never happened. Consider their obsession with non-existent, murderous white supremacists, whom they depict as besieging Manhattan.
In “Open Season” (November 20, 2002), a William Kunstler-like defense attorney is murdered while celebrating the acquittal of a guilty-as-hell black defendant for shooting a white policeman. The killer, a member of a white supremacist group, then uses his defense attorney to unwittingly pass along information to his co-conspirators, who murder a prosecutor in another state. The defense attorney is charged with aiding and abetting the supremacists, before she is shot by a female supremacist.
Note that the real basis of the episode was the indictment of radical attorney, Lynne Stewart “with helping terrorist conspirator Sheikh Omar Abdel Rahman maintain contact with the outlaw terror organization Islamic Group [IG] from behind the bars of a federal prison,” as Mark Hamblett wrote in the July 23 New York Law Journal, resulting in the 1997 murder of 62 people by IG in Luxor, Egypt. Sheik Abdul Rahman, is the convicted ringleader of the 1993 World Trade Center bombing. The most serious charges against Stewart were dismissed in July.
In “Prejudice” (December 12, 2001), a racist, white real estate agent progresses from writing a letter to his co-op board, to try and keep an interracial couple out of his building, to flashing a gun at a black colleague, to murdering a black man who beat him to a taxi. Such a case would have been fantastic in 1951, let alone in 2001.
In “Genius” (April 2, 2003), a white, violence-embracing ex-con-writer stabs a white cabby to death. Viewers are then given mixed messages, as the cab driver turns out to be a fugitive, white supremacist racial murderer. In another surreal, L&O touch, ordinary black New Yorkers are repeatedly shown to be so erudite that they are routinely experts on French poetry.
In “Kid Pro Quo” (April 30, 2003), the dedicated director of admissions at a tony private school, is murdered by her corrupt, racist boss. The victim sought to get a deserving but poor black girl admitted, but was overridden by the boss, who’d taken a bribe to accept the inferior child of a Jewish pornographer.
And then there’s the homophobia angle. In the real world, Manhattan is, with San Francisco, one of the two most gay-friendly areas in America. But not in L&O’s alternate universe. In “Girl Most Likely” (March 27, 2002), a private school student murders her lesbian lover, in order to hide the fact that she is gay.
Last, but not least, comes xenophobia. In “Patriot” (May 22, 2002), a pale, blonde-haired former special forces officer kills a Moslem immigrant he had surveilled, and whom he suspected of being a terrorist. The prosecutor presents the imaginary patriot as a monster, even as the story suggests that the dead man WAS a terrorist.
Now beginning its fourteenth season, Law & Order, still a top-rated show and perennial Emmy nominee for Outstanding Drama Series, serves in socialists’ culture war against whites. While Dick Wolf has succeeded at endearing himself to black, gay, and Hispanic pressure groups, if he seeks to cause whites to hate other whites, while being more sympathetic towards blacks, he has failed miserably. It is no secret which groups are committing almost all of the violent crimes in New York and other urban areas. All of the propaganda in the world won’t change that reality, or erase the public’s knowledge of it.
Here is a full list of Movies and assorted films that either are blatenly anti-white or have a tinge of anti-white within the film itself:
Love Field (1992): Michelle Pfeiffer, Dennis Haysbert. Dir. Jonathan Kaplan.
The Pelican Brief: Denzel Washington
Guess Who’s Coming To Dinner: Sidney Poitier
Save The Last Dance:
Wild Things 2: Isaiah Washington
Jungle Fever: Wesley Snipes
White Lies (1996): Julie Warner and Larry Gilliard, Jr.
Black and White (1999): Jew director James Toback.
Liberty Stands Still (2004): Wesley Snipes, Linda Fiorentino.
A Patch of Blue (1965): Sidney Poitier and Elizabeth Hartman
The Lost Man (1969): Sidney Poitier and Joanna Shimkus
Shaft (1971): Richard Roundtree and ________
187 (1997): Samuel Jackson and Kelly Rowan
Slaughter (1972): Jim Brown and Stella Stevens
I, Robot – Will Smith and Bridget Moynahan
Captive Heart: The James Mink Story – Louis Gossett Jr., Kate Nelligan
Bad Boys – Will Smith and Tea Leoni
Daybreak (1993) Cuba Gooding Jr. and Moira Kelly
Suburbia (1984)
Courage Under Fire (1996)
Moll Flanders (1996): Morgan Freeman and Robin Wright Penn
Bad Company (1995): Lawrence Fishburne, Ellen Barkin.
Mandingo (1975)
2004
Bag of Bones–___________ & ______________ *
Neo Ned–Gabrielle Union & Jeremy Renner
2003
House of the Dead–Enuka Okuma & Tyron Leitso
Malibu’s Most Wanted–Regina Hall & Jamie Kennedy (as a Jew)
2002 28 Days Later…–Naomie Harris & Cillian Murphy
Austin Powers in Goldmember–Beyonce’ Knowles & Mike Myers
Director–Jay Roach, Executive Producer–Toby Emmerich (Jews)
Dark Blue–Michael Michelle & Scott Speedman
Die Another Day–Halle Berry & Pierce Brosnan
Director–Lee Tamahori (1/2 Pacific Islander)
Queen of the Damned–Aaliyah & Stuart Townsend
The Time Machine–Samantha Mumba & Guy Pearce
Executive producer–Arnold Leibovit (Jew)
The Truth About Charlie–Thandie Newton & Mark Wahlberg
Executive producer–Ilona Herzberg
2001
Glitter–Mariah Carey & Max Beesley
Director–Vondie Curtis-Hall (negro)
Monsters’ Ball–Halle Berry & Billy Bob Thornton
Rocky Road–Nicole Smith & Will Wallace
The Score–Angela Bassett & Robert DeNiro
Co-director–Frank Oz (Jew)
Swordfish–Halle Berry & John Travolta; Halle Berry & Hugh Jackman
Producer–Joel Silver (Jew)
2000
High Fidelity–Lisa Bonet & John Cusack
Mission: Impossible II–Thandie Newton & Tom Cruise
Director–John Woo, executive producer–Terrence Chang (Chinese)
Road Trip–Mia Amber Davis & DJ Qualls
Writer/Director–Todd Phillips, Producer–Daniel Goldberg, Executive Producer Ivan Reitman (Jews)
Supernova–Angela Bassett & James Spader
1999
1998
Bulworth–Halle Berry & Warren Beatty
Executive producer–Lauren Donner Shuler (Jewess)
Mystery Men–Jennifer Lewis & William H. Macy
Producer–Lloyd Levin (Jew)
Pariah–Elexa Williams & Damon Jones (et al.*)
The Wedding–Halle Berry & Eric Thal
Director–Charles Burnett (negro)
1997
Jackie Brown–Pam Grier & Robert Forster
Producer–Lawrence Bender, co-executive producers–Bob & Harvey Weinstein (Jews)
1996
Mr. & Mrs. Loving–Lela Rochon & Timothy Hutton
Writer & Director–Richard Friedenberg (Jew)
The Rich Man’s Wife–Halle Berry & Christopher McDonald
Producer–Roger Birnbaum (Jew)
That Thing you Do!–__________ (a “Chantrelline”) & Ethan Embry
A Time to Kill–Rae’ven Kelly & _________ & _____________* Director–Joel Schumacher (Jew)
1995
Ace Ventura: When Nature Calls–Sophie Okonedo & Jim Carrey
Illegal in Blue–Stacey Dash & Dan Gauthier
Director–Stu Segall, executive producer–Martin W. Greenwald (Jew)
Jefferson in Paris–Thandie Newton & Nick Nolte
Director–James Ivory (homosexual), executive producer–Donald Rosenfeld (Jew)
Palookaville–Lisa Gay Hamilton & Adam Trese
Writer–David Epstein (Jew)
1994
Corrina, Corrina–Whoopi Goldberg & Ray Liotta
Writer/Director–Jessie Nelson, executive producer–Bernie Goldman (Jew)
Pulp Fiction–Vanessa Valentino & Quentin Tarantino
Producer–Lawrence Bender, co-executive producers–Bob & Harvey Weinstein (Jews)
1993
A Bronx Tale–Taral Hicks & Lillo Brancato
Producer–Jane Rosenthal (Jewess)
1992
The Bodyguard–Whitney Houston & Kevin Costner
Writer/Producer–Lawrence Kasdan (Jew)
One False Move–Cynda Williams & Billy Bob Thornton
Director–Carl Franklin (negro)
Sister Act–Whoopi Goldberg & Harvey Keitel (Jew)
Director–Emile Ardolini (homosexual), executive producer–Scott Rudin (homosexual Jew)
Zebrahead–N’Bushe Wright & Michael Rappaport (Jew)
1991
Flirting–Thandie Newton & Noah Taylor
Star Trek VI: The Undiscovered Country–Iman & William Shatner (Jew)
Co-writer & director–Nicholas Meyer (Jew)
1990
1980-1989
Harlem Nights (1989) Lela Rochon & Vic Polizos
Writer/Director–Eddie Murphy (negro)
Angel Heart (1987) Lisa Bonet & Mickey Rourke
Jumpin’ Jack Flash (1986) Whoopi Goldberg & ___________
Producer–Joel Silver (Jew)
Soul Man (1986) Rae Dawn Chong & C. Thomas Howell
Associate producer–Bernie Goldman (Jew)
Brewster’s Millions (1985) Lonette McKee & Stephen Collins
Silverado (1985) Lynn Whitfield & Jeff Goldblum (Jew)
Co-Writer & Director–Lawrence Kasdan, Co-Writer–Mark Kasdan (Jews)
1970-1979
Nightmare in Badham County (1976) Lynne Moody & Chuck Connors* Live & Let Die (1973) Gloria Hendry & Roger Moore
Omega Man (1971) Rosalind Cash & Charlton Heston
1960-1969
1950-1959
Show Boat (1951) Ava Gardner (as a mulatto) & Robert Sterling
Black/White team movies: note that the villains are almost always white.
Lethal Weapon (1987): white villains Mitchell Ryan and Gary Busey.
Bait (2000) Uptight white David Morse uses Jaime Foxx to catch white crook Doug Hutchison.
Lethal Weapon 2 (1989): White South-African diplomats are race-hating drug dealers.
Lethal Weapon III (1992): white villain Stuart Wilson selling guns to black youths.
Lethal Weapon IV (1996): Chinese villain Kim Chan.
48 Hours
Bubba Ho-Tep (2002): Bruce Campbell and Ossie Davis v. white Bob Ivey.
Trading Places: Eddie Murphy and Dan Akroyd v. Old White Men.
Nothing To Lose (1997): Tim Robbins, Martin Lawrence.
Another 48 Hours
Men in Black
Men in Black: Alien Attack
Men in Black II
Wild Wild West: White villain Kenneth Branagh.
Die Hard (1988) White villain Alan Rickman.
Die Hard II (1990)
Die Hard with a Vengeance (1995) White villain Jeremy Irons.
Rising Sun
Money Talks (1997): white villains Frank Bruynbroek and Gerard Ismael.
Running Scared: Gregory Hines and Jew Billy Crystal. Nonwhite villain Jimmy Smits.
The Last Boy Scout: Bruce Willis, Damon Wayans.
Blue Streak (2004): white villain Peter Greene.
National Security (2003): villain white Eric Roberts.
Fled (1996): Lawrence Fishburne, Stephen Baldwin.
Bulletproof (1996): cop Damon Wayans, crook Adam Sandler (as a white).
The Glimmer Man (1996): Steven Seagal, Keenen Ivory Wayans.
I Spy (2002): Owen Wilson, Eddie Murphy. Script by Morton Fine and David Friedkin.
Bad Company: Anthony Hopkins, Chris Rock
Half Past Dead (2002): Stephen Seagal, Morris Chestnut.
Exit Wounds (2001): Stephen Seagal, DMX.
Showtime (2002): Robert DeNiro, Eddie Murphy.
Four Brothers (2005)
Movies with blacks as God
Bruce Almighty: Morgan Freeman as God.
It’s A Very Muppett Christmas Movie (2002): Whoopi Goldberg as God.
The Stand (1994): Ruby Dee as God-like figure.
In God We Trust (1980): Richard Pryor as God. Dir. Marty Feldman.
As Devil: The Devil and Max Devlin (1981): Bill Cosby
Movies with black presidents
The Fifth Element: Tom “Tiny” Lister, Jr.
Deep Impact: Morgan Freeman
Head of State (2003): Chris Rock
Stealth Fighter (2000): Ernie Hudson
Movies with “wise/magical blacks” helping “not-so-wise whites”
The Legend of Bagger Vance: Will Smith
The Green Mile: Michael Clarke Duncan
The Shawshank Redemption: Morgan Freeman
Something the Lord Made: Mos Def
About Schmidt (2002): Abdallah Mtulu as Ndugu.
The Family Man: Don Cheadle as an angel.
Robin Hood: Prince of Thieves: Morgan Freeman
The Matrix: Larry Fishburne, and the Oracle
The Matrix Reloaded: Larry Fishburne and the Oracle
The Matrix Revolutions: Larry Fishburne and the Oracle
O Brother, Where Art Thou: Lee Weaver
Girl, Interrupted: Whoopi Goldberg
Grumpy Old Men: Ossie Davis
Happy Gilmore: Carl Weathers (helping Jewish Adam Sandler)
Rocky III: Carl Weathers
Seven (1995): Morgan Freeman
Rudy: Charles S. Dutton
Bringing Down the House: Queen Latifah
Soul Man: James Earl Jones
The Sandlot: James Earl Jones
Species: Forrest Whitaker
Ghost: Whoopi Goldberg
The United States of Leland: Don Cheadle
Journey Back to Oz (1974 – animated) Bill Cosby as voice of Wizard of Oz.
The Bonfire of the Vanities (1990): Morgan Freeman
That Was Then, This Is Now (1985) Morgan Freeman as understanding cop.
Grand Canyon (1991) Danny Glover helps Kevin Kline. Dir. Lawrence Kasdan.
The Stand
Jerry Maguire: Cuba Gooding Jr.
Radio (2003): Cuba Gooding, Jr.
The Big Bounce (2004): Morgan Freeman
Money Train: Wesley Snipes and Woody Harrelson.
To Sir with Love (1967) Sidney Poitier
To Sir with Love II (1996) apparently a remake of Lean on Me.
The Slender Thread (1965): Sidney Poitier.
Brother John (1971): Sidney Poitier, dir. James Goldstone.
Pressure Point (1962): Sidney Poitier.
Lilies of the Field (1963): Sidney Poitier.
All the Young Men (1960): Sidney Poitier.
The Toughest Man in the World (TV, 1988): Mr. T
Johnny Mnemonic (1995): Ice-T
The Shining: Scatman Crothers
Never Die Alone (2004): DMX, David Arquette.
Gladiator (1992): Ossie Davis
The Super (1991): bad Joe Pesci is educated about life on the streets.
Twilight Zone, The Movie (1983): Scatman Crothers in nursing home segment (part 2).
An Officer and a Gentleman (1982): Louis Gossett Jr. giving “tough love.”
Movies with “cool blacks”, uncool whites
The New Guy (2002): Eddie Griffin
Houseguest (1995): Sinbad
Beverly Hills Cop (1984): Eddie Murphy and Judge Reinhold.
Beverly Hills Cop II (1987): Eddie Murphy and Judge Reinhold.
Sister Act: Whoopi Goldberg
Sister Act 2: Whoopi Goldberg
Bullworth: Halle Barry
White Chicks (2004)
Putney Swope (1969): Arnold Johnson.
First Kid (1996): Sinbad.
The Toy (1982): Richard Pryor.
Blue Streak (1999): Martin Lawrence enlightens Luke Wilson.
Head of State (2003): Chris Rock.
Malibu’s Most Wanted (2003): white is shown as absolutely ridiculous, blacks as cool. Note that the white is Jewish.
South Park – Bigger, Longer and Uncut: Isaac Hayes.
Black and White (1999): Jew director James Toback. Whites trying to be like blacks. Jew lawyer helps blacks get recording contracts.
Fear of a Black Hat (1994): “Vanilla Sherbert” is the joke.
Soul Plane (2004): Tom Arnold as clueless white man.
Preferred by white women
Me, Myself and Irene (2000) White Traylor Howard leaves husb Jim Carey for black midget Tony Cox.
Freddy Got Fingered (2001) Julie Hagerty leaves husband for Shaquille O’Neal
Blacks as very strong/tough
Police Academy (1984): Bubba Smith
Police Academy 2 (1985): Bubba Smith
Police Academy 3 (1986): Bubba Smith
Police Academy 4 (1987): Bubba Smith
Police Academy 5 (1988): Bubba Smith
Police Academy 6 (1989): Bubba Smith
Striptease: Ving Rhames
Revenge of the Nerds
Higher Learning: with obese black pummeling hulking white.
The Adventures of Baron Munchausen
The Program: scene w/black linebacker abusing white QB “Mayday, mayday”
Black/White surprise long-lost child
Made in America (1993)
Carbon Copy (1981)
White misfit coaching black sports team
Wildcats (1986): Goldie Hawn
Sunset Park (1996): Rhea Perlman (Jew).
Hard Ball (2001): Keanu Reeves
Dangerous Minds (1995): Michelle Pfeiffer
Music of the Heart (1999): Meryl Streep
Action/Suspense movies with black hero, white villain(s)
Sweet Sweetback’s Baad Asssss Song (1971)
Collateral (2004): Jamie Foxx v. Tom Cruise.
Catwoman (2004): Halle Berry v. Sharon Stone.
Pulp Fiction: evil white rednecks rape Ving Rhames.
Posse (1993): Mario Van Peebles v. Richard Jordan.
Man On Fire: Denzel Washington protecting white family.
Detour to Terror (1980): O.J. Simpson v. Lorenzo Lamas.
Slaughter (1972): Jim Brown v. Rip Torn.
Tougher than Leather (1988): Run DMC v. mafia, racist bikers. Dir. Jew Rick Rubin.
Jumpin’ Jack Flash (1986)
Virtuousity (1995): Denzel Washington v. Russell Crowe.
Slaughter’s Big Rip Off (aka Slaughter II, 1973): Jim Brown v. Ed McMahon.
Bad Boys: Will Smith, Martin Lawrence, Tea Leoni
Kiss the Girls: Morgan Freeman (w/ white Ashley Judd) v. Cary Elwes.
The Brother from Another Planet (1984): Joe Morton v. John Sayles, David Strathairn.
XXX (2002): Vin Diesel v. Marton Csokas. Dir. Rob Cohen.
Shaft (2000): Samuel L. Jackson, Christian Bale. Dir. black John Singleton.
Another 48 Hours
Black Gunn (1972): Jim Brown v. Martin Landau. Tagline: “For every drop of black blood spilled … a white man pays.”
Beverly Hills Cop: Eddie Murphy, Stephen Berkoff.
Action Jackson (1988): Carl Weathers, Craig T. Nelson. Producer Joel Silver.
I, Robot – Will Smith, Bruce Greenwood
Enemy of the State (1998) – Will Smith, John Voight.
Wild, Wild West – Will Smith (with Jewish Kevin Kline), Kenneth Branagh. Dir. Barry Sonnenfeld.
The Negotiator (1998): Samuel L. Jackson. (I’m assuming here that the villain is white).
Walking Tall (2004): Dwayne “The Rock” Johnson, Neal McDonough. Real-life white Buford Pusser is transformed into black Chris Vaughn.
Blade (1998): Wesley Snipes, Stephen Dorff.
Blade II (2002): Wesley Snipes, Luke Goss.
Blade III (2004): Wesley Snipes, villains Parker Posey and Dominic Purcell
The Art of War (2000): Wesley Snipes and I’m assuming the villain is white. Snipes with Asian love interest.
The Fan (1996): Wesley Snipes, Robert DeNiro.
Cleopatra Jones (1973): Tamara Dobson v. Bill McKinney and Shelley Winters.
Murder at 1600 (1997): Wesley Snipes, Alan Alda
U.S. Marshalls (1998): Wesley Snipes (co-hero with Tommy Lee Jones) v. Robert Downey Jr.
Money Train: Wesley Snipes (co-hero with Woody Harrelson) v. Chris Cooper.
Little Nikita (1988): Sidney Poitier, Richard Lynch
Shaft (1971)
Black Caesar (1973): Fred Williamscon v. Art Lund and Val Avery. Dir. Larry Cohen.
Passenger 57 (1992): Wesley Snipes, Bruce Payne. “Always bet on black.”
Shaft in Africa (1973): Richard Roundtree, Frank Finlay
Shaft’s Big Score (1972): Richard Roundtree, Joe Mascolo. Note hostile look Shaft gives white cop while ordering “black coffee.”
The Mack (1973): Max Julien.
Deep Cover (1992): Lawrence Fishburne, jew Jeff Goldblum playing “David Jason.”
Hoodlum (1997): Lawrence Fishburne, jew Tim Roth playing “Dutch Schultz.”
Anaconda (1997): Ice Cube, John Voight.
The Rundown (2003): Dwayne “The Rock” Johnson, Christopher Walken
The Scorpion King (2002): Dwayne “The Rock” Johnson, Steven Brand
Crimson Tide (1995): Denzel Washington, Gene Hackman
Foxy Brown (1974): Pam Grier, Peter Brown, Katheryn Loder.
Coffy (1973): Pam Grier, Allan Arbus, Sid Haig.
Bucktown (1975): Fred Williamson and Pam Grier v. Art Lund and white cops.
Hurricane Smith (1992): Carl Weathers fights white Australians.
Braker (1985 TV) Carl Weathers. Failed pilot for cop drama w/black vet & white rookie.
Cocaine and Blue Eyes (1983): O. J. Simpson.
Three the Hard Way (1974): Fred Williamson, Jim Brown and Jim Kelly v. Jay Robinson.
Panther (1995):
…Tick…Tick…Tick…(1970): Jim Brown.
Drop Zone (1994): Wesley Snipes v. Gary Busey.
Suburbia (1984)
Devil in a Blue Dress (1995): Denzel Washington
The Glass Shield (1994) Ice Cube
The Manchurian Candidate (2004): Denzel Washington v. Meryl Streep, Liev Schreiber.
Comedy with Black Hero, White Villain
Brewster’s Millions (1985)
Harlem Nights (1989): Eddie Murphy v. Danny Aiello and Michael Lerner.
The Cherokee Kid (1996): Sinbad v. James Coburn
I’m Gonna Get You Sucka
Dolemite (1975)
The Human Tornado: Dolemite II (1976): Rudy Ray Moore v. J. B. Baron
Marci X (2003) Jew and black unite to protect gangsta rap from conservative white man.
Black Knight
Pootie Tang (2003): Lance Crouther v. Robert Vaughn.
Surf Nazis Must Die (1987): Gail Neely kills neo-Nazis.
Black hero in general
Goldie and the Boxer (1979): O.J. Simpson as father figure to white Melissa Michaelsen.
Goldie and the Boxer go to Hollywood (1981): more of the same.
Independence Day (1996): Will Smith saving us from aliens.
Night of the Living Dead (1968): Duane Jones.
Night of the Living Dead (1990): Tony Todd
Dawn of the Dead (2004). Ving Rhames.
Osmosis Jones (2001): blood cell with Chris Rock’s voice saves whites from germs.
Lean on Me (1989) Morgan Freeman overcomes schemes by white officials to make him fail.
Children of the Dust (1995): Sidney Poitier.
Michael Jordan: An American Hero (1999 TV)
Undercover Brother: Eddie Griffin, Chris Kattan
Space Jam (1996): Michael Jordan.
Black Victim, White Villain
White Slavery of Blacks
Roots
Amistad (1997)
Roots: the next generation
Amistad
Mandingo (1975)
Beloved (1998)
Captive Heart: The James Mink Story (1996)
Down in the Delta (1998)
Enslaved (1999)
Fields of Endless Day (1978)
I is a Long Memoried Woman (1990)
Loyalties (1999)
No Master Over Me (1998)
Of Kith and Kin (1998)
Sankofa (1993)
Shadrach (1998)
Solomon Northrup’s Odyssey (1994)
Songs are Free (1991)
The Underground Railroad (1999)
Waking in Mississippi (1998)
White abuse of Blacks other than Slavery (e.g. discrimination, violence…)
A Time to Kill: Samuel Jackson, RaeVen Larrymore Kelly
Walking Tall (2004): The Rock
Ghosts of Mississippi (1996) dir. Rob Reiner (Jewish)
Mississippi Burning
Monster’s Ball
For Us the Living: The Medgar Evers Story
4 Little Girls
Rosewood (1997) dir. John Singleton (black)
Once Upon a Time… When We Were Colored (1995)
The Long Walk Home (1990)
The Craft (1996): blonde Christine Taylor picks on black Rachel True.
The Rosa Parks Story (2002)
The Court-Martial of Jackie Robinson (1990)
The Tuskegee Airmen (1995)
George Wallace (1997)
A Soldier’s Story (1984) dir. Norman Jewison (Jewish)
In the Heat of the Night (1967) dir. Norman Jewison
White Lie (1991): Gregory Hines.
A Lesson Before Dying (1999) Don Cheadle.
Roll of Thunder, Hear My Cry (1978)
The Color Purple (1985)
White Man’s Burden (1995): “reverse-world”: blacks are vicious oppressors and whites are humble, honest underclass. Lesson: blacks are really the humble, honest…
Freedom Song (2000)
A Raisin in the Sun (1989)
A Raisin in the Sun (1961)
Mandela (1987)
Good Fences (2003)
Men of Honor (2000)
Chiefs (1983 miniseries)
Mandela and de Klerk (1997) Sidney Poitier, Michael Caine
Separate but Equal (1991): Sidney Poitier
Carter’s Army (aka Black Brigade, 1970)
To Kill a Mockingbird (1962)
Hart’s War (2002)
The Atlanta Child Murders (1985 mini) says black convicted killer Wayne Williams was innocent.
Beloved (1998)
…Tick…Tick…Tick…(1970): Jim Brown.
Black Like Me
The Hurricane (1999): black boxer falsely imprisoned by racist white establishment.
Cry Freedom (UK 1987): discrimination in Apartheid South Africa.
O, Brother, Where Art Thou: Jim Crow, Klan, lynching. Dir. Jewish Coen brothers.
The Glass Shield (1994) Ice Cube. Discrimination in LAPD.
The Wilby Conspiracy (1975). South African govt tries to murder black activist.
Jasper, Texas (2003)
Bring It On (2000) white protagonists inadvertently steal blacks’ cheer routine.
White movies remade black or blacker
Walking Tall (2004)
The Muppet’s Wizard of Oz (2005 TV)
The Manchurian Candidate (2004)
Ocean’s Eleven (2001)
Hook (1991) very sweet scene where black kid looks into Robin Williams’ face.
Four Brothers (2005) remake of The Sons of Katie Elder
Wild Wild West (1999) Will Smith as Jim West
Blacks Inserted Into White Historical Settings
Robin Hood: Prince of Thieves: Morgan Freeman
Texas Rangers (2001): Usher Raymond
Silverado: Danny Glover
Blazing Saddles (1974): Cleavon Little. Dir and written by Mel Brooks.
Posse (1993): Mario Van Peebles and others as black cowboys.
Gang of Roses
Girl Interrupted: based on a true story. The character played by Whoopie Goldberg was actually white.
Movies with White Hero/Victim, Black Villain (for comparison)
Demolition Man: Sylvester Stallone, Wesley Snipes. Note that the boss villain is white.
A Stranger in Town (1995 TV): Jean Smart, Gregory Hines as stalker.
Candyman (1992): Virginia Madsen, Tony Todd.
Candyman II: Farewell to the Flesh (1995): Kelly Rowan, Tony Todd.
The Even Stevens Movie (2003): Shia Lebouef v. Tim Meadows.
Marked for Death (1990) Steven Seagal (Jew, with black Keith David) v. Basil Wallace.
Birth of a Nation (1915)
Training Day: Ethan Hawke v. Denzel Washington (who is evil because he hurts blacks).
The Principal: James Belushi (love interest black Rae Dawn Chong).
Rocky II: Sylvester Stallone (with black Carl Weathers) v. Mr. T.
Zulu: blacks are enemies in war, but not really shown as “villains.”
Black Hawk Down
Unbreakable (2000): Bruce Willis v. Samuel L. Jackson.
Conan the Barbarian: Arnold Schwarzenegger, white woman & 2 Asians v. James Earl Jones and whites.





