Not surprisingly, the most slavishly promoted miniseries of all time was also the most important film of all to the Jews: The Holocaust. The film was a thoroughly Jewish production. It was directed by Roots’ director Marvin Chomsky. Gerald Green wrote the screenplay. Morton Gould composed the music. The producers were Robert Berger and Herbert Brodkin. TV Guide remarked that during filming in Europe, the writer’s father died. Rather than return home for his funeral, Green felt he was honoring his rabidly pro-Zionist father by staying in Europe to work on The Holocaust. For a dozen hours, the film, a work of extreme ethnic hatred, portrayed Germans and other Eastern Europeans as either bloodthirsty or spineless, and of course, it portrayed every Jew as a paragon of virtue, love, and kindness. Never had a television production received more advance coverage or more praise than The Holocaust. Jewish-run publications and pundits acted as though it was the most important piece of drama in the history of cinema.

While I was still in college, I attended a so-called Black-exploitation film called Farewell Uncle Tom. I read about the film before its showing in New Orleans, where it played in a mostly Black movie house downtown. Expecting a difficult situation, I drove down from Baton Rouge with two of my bravest and most dedicated LSU friends. In 90 minutes, at a matinee filled with Blacks, my friends and I received an emotional and graphic education on the heinous impact of the Hollywood anti-White movies.

Set in the antebellum South, the film portrayed slave life as an orgy of White mutilation, starvation, murder, and rape of Black men and women. A Black revolt occurs, and the screen erupts with revenge-minded Blacks hacking to death White men, women, and children. With each bloody outrage, the audience howled with approval. "Right on!" some screamed. "Rape the Bitch!. . . Kill 'em!" The Black crowd laughed and cheered during the goriest scenes of mutilation, rape, and murder.

To make sure the film’s point was clear to its patrons, the film’s ending flashed to the present day, showing afro-wearing Black men in leather jackets and sunglasses, sneaking into the bedroom of a White couple. The camera depicts the couple’s horror as the attackers hack them to death with a hatchet. In slow motion, the hatchet falls repeatedly, splattering blood and brains across the room. Even after 20 years, I vividly recall the film and the raw hatred it engendered in the Black audience.

At the sight of the murders, the audience worked itself into frenzy. As soon as the credits appeared, my friends and I, sitting in the rear of the theater, grabbed our coats and left quickly. We were somber as we drove back to LSU because we knew that Farewell Uncle Tom was intended to incite Blacks to murder and rape Whites across America.

In researching the film, I discovered that Cannon Releasing Corporation had released it and that Cannon’s president was Dennis Friedland. His associates included Marvin Friedlander, Thomas Israel, James Rubin, and Arthur Lipper. I found out later from a film review that most of the Jews involved with the White-hating film actually had their names removed from the films credits.

The time I spent in that dark theater touched my emotions so powerfully that I swore to myself and to God that I would make whatever sacrifices I must to someday stop the brutal attacks against our flesh and blood as symbolized in that hateful film. I also resolved to stand up against filmmakers who create a climate of anti-White hatred.