Marilyn and the Jews
JTR
Marilyn Monroe is one of many Gentile actors who fell under the dominance of a string of Jewish psychoanalysts, including, most famously, Ralph Greenson (born: Romeo Greenschpoon) who was her therapist when she allegedly committed suicide. "Like many of his colleagues at the time," notes a review of Donald Spoto's biography of Marilyn, "Greenson relied heavily on drug therapy for his patients, routinely prescribing barbiturates and tranquilizers or having patients' other doctors do so. He referred Marilyn to [Jewish] internist Hyman Engelberg, who prescribed many of the medications Greenson ordered for her ... Her friends noticed that the more Marilyn saw Greenson, the more miserable she became ... Greenson encouraged Marilyn's deep dependency on him (he was seeing her twice daily)" (Good Housekeeping, 1993, pp. 212, 214). [Image: Ralph Greenson.] The incestuous nature of Hollywood life may be observed in Greenson's case: his sister Elizabeth was married to Milton 'Mickey' Rudin, a Jewish entertainment attorney who was one of the town's major powerbrokers. Rudin was Monroe's lawyer.
Marilyn's publicist, Arthur Jacobs, was also Jewish. So were her agents at MCA, Jay Kanter and Mort Viner. Many of the directors of her films were Jews (for example, Billy Wilder of Some Like It Hot and George Cukor of Let's Make Love). Natasha Lytess, her personal manager and the subject of speculation about Monroe's rumored lesbianism, was Jewish, from Austria. Their relationship, says Barbara Leaming, was "mutually exploitive" (Leaming, 31). Milton Greene, a Jewish fashion photographer "with whom she'd reportedly had a fling during the late forties," was another early personal manager.
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Natasha Lytess and Marilyn on the set of Gentlemen Prefer Blondes.
Monroe had resolved to sleep with anyone who could help her attain fame and fortune in Jewish-dominated Hollywood. Close friend Ted Jordan notes that she had "sex with anybody she thought might be able to advance her career" (Jordan, 121). "It is clear," says Anthony Summers in his biography, "that Marilyn made judicious use of her favors. A key beneficiary was the [Jewish] man who got Marilyn that vital first contract at Fox -- Ben Lyon. According to writer Sheila Graham, Lyon had been sleeping with Marilyn and promising to further her career ... Lyon called the casting director for Sol Wurtzel, a [Jewish] B-movie producer of the time [and Monroe was awarded a small part in the 1947 film Dangerous Years]" (Summers, 35).
In olden times," Upton Sinclair once remarked, "Jewish traders sold Christian girls into concubinage and into prostitution, and even today they display the same activity in the same field in southern California where I live." Or as F. Scott Fitzgerald summed up the Hollywood scene of his era -- "a Jewish holiday, a Gentile tragedy" (Gabler, 2).
Garment millionaire Henry Rosenfeld was another Jewish sex partner on Marilyn's road to fame. "She would join Rosenfeld at his home in Atlantic City for trips in his speedboat and for quiet evenings of talk and laughter" (Summers, 45). Jewish mobster Bugsy Siegel, himself a Hollywood powerbroker, also slept with her (Jordan, 84, 87). Ted Jordan (born Edward Friedman) even wrote a book about his early sexual experiences with Monroe -- they began on his fourth date with her when she was 17. Then known by her real name, Norma Jean, Monroe was soon sleeping with Friedman's uncle, Ted Lewis (original name also Friedman), who, "with his clarinet and distinctive style of old favorites, was among the hottest acts in show business" (Jordan, 73). It was Lewis who introduced the then-unknown model to narcotics.
"I learned," says Jordan, "that at one point in their little backstage meeting, Ted had slipped Norma Jean a piece of paper with his telephone number on it. Soon they were meeting in hotel rooms whenever Ted was in town ... Soon he was pulling strings for Norma Jean, trying to hook her up with an agent who would do her the most good ... As Norma Jean had vowed to me, whoever she had to fuck, she was prepared to do it. And, for good measure, she did the same with [prominent Jewish gossip columnist] Walter Winchell" (Jordan, 75).
Early in Monroe's career as a struggling actress, the Jewish head of Columbia, Harry Cohn, invited her to an overnight cruise on his yacht. Monroe was required to strip naked for Cohn in his office. As she bent over, at his direction, he approached her, penis in hand. When she declined his advances, said Monroe, "I had never seen a man so angry" (Jordan, 91; Wolfe, 211-212). Cohn then "banned her from the [Columbia] lot after she refused to accompany him on a yacht to Catalina Island" (Leaming, 8). "You know," Monroe once said, "that when a producer calls an actress into his office to discuss a script that isn't all he has in mind ... I've slept with producers. I'd be a liar if I said I didn't" (Summers, 34-35). In 1955, 20th Century Fox awarded Monroe the richest per-film contract of any actress. "It means," remarked Monroe, "I'll never have to suck another cock again!" (McDougal, 217).
The network of Jewish men that controls Hollywood has always been characterized by an intense sexual fixation on the shiksa -- shiksa being a derogatory slur for a Gentile woman, literally signifying "unclean animal" according to its Yiddish etymology. Hence the ubiquitous "casting couch," a Hollywood institution that provided Jewish powerbrokers access to otherwise unavailable non-Jewish women, whom they despised as non-Jews yet idealized as avatars of alien sexual desirability. The shiksa thus became the ultimate sexual trophy. The Jews who ruled Hollywood, noted Hollywood rabbi Edgar Magnin, "were men who made all that money and realized they were still a bunch of Goddamned Jews. Sleeping with a pretty gentile girl made them feel, if only for a few minutes, 'I'm half gentile.' No wonder they made idols out of shiksa goddesses." [Image: Marilyn in 1951.]
A key agent in accelerating Monroe's early career was Johnny Hyde (like many Hollywood Jews, born in Russia, and a veteran of vaudeville.) She was also his mistress; he was 53, she was 23. Hyde "not so coincidentally ... was Ted Lewis' personal manager" (Jordan, 85). "In making Marilyn known," says Fred Guiles, "[Hyde] flexed a lot of muscle. The simple fact is that Johnny Hyde was the chief architect of her fame and her eventual legend" (Guiles, 147).
"By 1953," Jordan reports, "... [Monroe] could be virulently anti-Semitic (a prejudice that grew as she got older). To my discomfort she would sometimes refer to Joe Schenck, the mogul [and another sexual stepping stone], as 'that Jew shit' and to other Hollywood personalities as 'Jew' this or that. Occasionally I would have to remind her that I was half Jewish" (Jordan, 188). Monroe's anti-Semitism did not prevent her from later converting to Judaism, at the behest of her Jewish husband, playwright Arthur Miller, who (despite his vocal anti-racialism) would not wed an uncoverted Gentile.
The Hollywood world and its pressures of being a sex goddess of course destroyed her. Monroe's physician Hyman Engelberg and her therapist Ralph Greenson were the first to her death scene, reported to be the result of a drug overdose, but they did not call police for four hours. One investigative author, Donald Spoto, in a 1993 work, even burdens Greenson with the responsibility for killing her, directing that a female employee "administer [to Monroe] ... a fatal barbiturate-laced enema." (In this scenario, Greenson's motivation was that Monroe was trying to free herself from his influence and control, and had fired him [Wolfe, 99]).
A friend of Monroe's recalls that she was beginning to feel that Greenson was "trying to substitute himself for everything she'd built up those past years. She decided he was anti-everything she wanted. She was radically turning on Greenson and Mrs. Murray, the woman he'd put with her, she felt, to spy on her" (Strasberg, 250-251).
The famous movie star's alleged suicide has always been controversial, and there are various conspiracy notions about who would want her dead. Greenson's secret life is much clouded. As well as being a therapist, he was an activist Communist Party member and part of its international Comintern. Greenson, as his sister Elizabeth has reported, was also a Zionist with "strong ties to Israel" (Kelley, 305).
Whatever Greenson's role as a listener of movie star's confessions, his communist ties have profound implications because Monroe had romantic affairs with President John F. Kennedy and knew a great deal about behind-the-scenes politicking, perhaps including plans against communist Cuba and Fidel Castro. Everything Monroe knew she undoubtedly told her psychotherapist. As Donald Wolfe writes:
Once Marilyn Monroe became Greenson's patient, he became one of the most important Comintern operatives in America; he had access to the mind of a woman who often shared the bed with the president of the United States and was an intimate of the attorney general [Kennedy's brother, Robert] ... As Greenson has correctly stated, Marilyn Monroe had a tendency to 'get involved with very destructive people, who will engage in some sort of sado-masochistic relationship with her.' Ironically, among these people was her psychiatrist [Greenson], her physician [Engelberg], and her housekeeper, Eunice Murray [who was appointed by Greenson to live with Ms. Monroe and report back to him], who joined in a conspiracy to survey Marilyn Monroe within a sphere of influence designed to gather intelligence from her relationship with the president of the United States and the attorney general (Wolfe, 386).
Marilyn Monroe's road to psychoanalysis was directed by the influential Jewish acting teacher, Lee Strasberg, who is usually credited with spawning "method acting," made famous by the likes of Marlon Brando and James Dean. Brando's first Jewish analyst, early in his career, was Bela Mittelman, "the coldest man I've ever known." ... "Acting afforded me the luxury of being able to spend thousands of dollars on psychoanalysts, most of whom did nothing but convince me that most New York and Beverly Hills psychoanalysts are a little crazy themselves, as well as highly motivated to separate patients from their money while making their emotional problems worse" (Brando, 124, 243). Brando was not much endeared to Lee Strasberg either, calling him "an ambitious, selfish man who exploited the people who attended the Actors Studio, and he tried to project himself as an acting oracle and guru. Some people worshiped him, but I never knew why" (Brando, 85).
Strasberg's daughter, Susan, notes that her father "sent numerous actors to psychiatrists, and many doctors sent their patients to class because they felt his work helped theirs in analysis" (Strasberg, 31). Susan Strasberg herself used to argue with Marilyn Monroe about whether she or the famous sex goddess "needed therapy more" (Strasberg, 138). As Barbara Leaming observes:
It was said that the master teacher Lee Strasberg could open inner doors that one scarcely knew existed. Some admirers called him the Rabbi. Some compared him to a psychiatrist or a highly judgmental Jewish father ... Strasberg focused on psychology. He ran his workshop as though they were group therapy sessions... Strasberg often advised actors to enter psychoanalysis in order to put them in touch with emotionally-charged material they could use in their work" (Leaming, 156-157).
Under Lee Strasberg's influence Marilyn became an earnest devotee not just of method acting, but of Freudian analysis as well. Monroe's one-time husband, Jewish playwright Arthur Miller, also had his own Jewish psychoanalyst: Rudolph Loewenstein. Monroe even had sessions with Sigmund's Freud daughter, Anna, also a therapist, in London. "The significance of [Monroe's reliance on psychoanalysts] for psychoanalysis," notes Jeffrey Moussaieff Masson, "was that Monroe left a substantial part of her estate to further the work of Anna Freud, whom she had seen briefly for analytic help in 1956 (Anna Freud wrote about her that she was paranoid with schizophrenic traits), and this bequest was undoubtedly achieved through her analysts, who were intimately connected to Anna Freud" (Masson, 129).
As Masson, a former offical at the Sigmund Freud Archives, further notes about the ethical undercurrent of such funding:
It is not, in fact, uncommon for analysts to solicit, usually through roundabout methods, former patients for money to support analytic projects. Chairs of psychoanalysis in medical schools at various universities have been partially endowed through former patients. There was also the case of the Centenary Fund, named for the centenary, in 1956, of Freud's birth. [Marilyn Monroe's therapist Ralph] Greenson had organized this fund for psychoanalytic research in Los Angeles ... I felt then, and still do now, that it is an exploitation of the emotional relationship with a patient to solicit money, in whatever form, directly or indirectly. It seems to me that the patient, or ex-patient, is in no position, emotionally speaking, to refuse ... I find it wrong and morally distasteful" (Masson, 130).
A Monroe friend once stated that "I felt [Ralph Greenson] had a big ego, like a lot of doctors he wanted to be God, and of all the analysts in L.A. she found him. Inger Stevens was his patient too. She killed herself later" (Strasberg, 250).
As Greenson once claimed, "I can count [on] Marilyn to do anything I want her to do" (Wolfe, 422).
Works Cited
Brando, Marlon. Brando: Songs My Mother Taught Me. Random House, Toronto, 1994.
Gabler, Neal. An Empire of Their Own: How the Jews Invented Hollywood. Crown Publishers. New York, 1988.
Good Housekeeping. "Marilyn Monroe." May 1993, pp. 162-163, 212-216.
Guiles, Fred Lawrence. Legend: The Life and Death of Marilyn Monroe. Stein and Day, New York, 1989.
Jordan, Ted. Norma Jean: My Secret Life with Marilyn Monroe. William Morris & Co., New York, 1989.
Kelley, Kitty. His Way: The Unauthorized Biography of Frank Sinatra. Bantam Books. New York, 1986.
Leaming, Barbara. Marilyn Monroe. Crown Publishers, New York, 1998.
Masson, Jeffrey Moussaieff. Final Analysis: The Making and Unmaking of a Psychoanalyst. Addison-Wesley, New York, 1990.
McDougal, Dennis. The Last Mogul: Lew Wasserman, MCA, and the Hidden History of Hollywood. Crown Publishers, New York, 1998.
Strasberg, Susan. Marilyn and Me: Sisters, Rivals, Friends. Warner Books, New York, 1992.
Summers, Anthony. Goddess: The Secret Lives of Marilyn Monroe. MacMillan, New York, 1985.
Wolfe, Donald H. The Last Days of Marilyn Monroe. William Morrow, New York, 1998.
The preceding text is excerpted and edited from When Victims Rule, online at Jewish Tribal Review. The title is editorial. The Great Revealer's blog
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I hate to burst your bubble Mel, but if Marlon Brando's mother was Jewish, it makes his statement all the more damning. It can hardly be dismissed as coming from a flaming anti-Semite. Jews consider anyone with a Jewish mother, a Jew. Even Jews brag about controlling Hollywood. And nothing was said here, about who killed Jesus. It galls me that everytime anyone says anything that even sounds remotely critical of the perfect race, people like you start in picking. Other than your criticism of Brando's lineage, do you have any other complaints about this article? Is there anything you find inaccurate? If so, please point it out.
Our country is falling apart, right in front of our eyes, and it is very apparent to me, who the chief architects of that destruction is. Bush has surrounded himself with Jewish advisors, and those advisors screamed for war with Iraq. Now with over a million dead and much of Iraq in rubble, they have set their sites on Iran and they are using the same strategy to start another war. These wars plus their control over our banking and financial markets, is driving the U.S.A. into oblivion. BASTARDS! LEACHS! DEVILS!
"Jews Run Hollywood - So What?"
Marlon Brando complained on the Larry King Live show on april 5th 1996 that, "Hollywood is run by Jews - it is owned by Jews!" He added that the Jews have slandered every other racial group, "but are ever so careful to insure that there is never any negative image of the Kike."
For this Marlon Brando was labelled "anti-Semitic" and forced to apologize to the Jews running the Simon Wiesenthal Holocaust Tourist Center in Los Angeles.
Now organized Jewry has become so brazen and powerful that they are no longer making any secret of this fact!
The American Moment Magazine is subtitled, "The Jewish Magazine for the '90s". Its edition of Aug. 1996 carries the startling headline "Jews Run Hollywood - So What?" The author is the Jew Michael Medved who states:
...
Medved says that while polls show that Americans believe that Jews make up 10% of the population it is just 2,4%.
Marlon Brando's chief complaint was that the Jews are always depicted as kind, loving, humorous, do-gooders. Medved writes that, "Jewish writers and directors employ unquestionably flattering depictions of Jews for audiences to react with sympathy and affection."
...
Medved ends with this statement, which should be a warning to all non-Jews:
"The combined weight of so many Jews in one of America¥s most lucrative and important industries gives the Jews of Hollywood a great deal of political power. They are a major source of money for Democratic candidates. The industry¥s informal patriarch, MCA chairman Lew Wasserman, wields tremendous personal clout in state and national politics. So do Barbara Streisand, Norman Lear and others."
The Big Hollywood Lie: Denying that Jews Control the Film Business
When country singer Dolly Parton told Vogue magazine a couple of months ago that her idea for a TV series about a country singer who becomes a gospel singer was turned down by Hollywood, she said that "everyone's afraid to touch anything that religious because most of the people out here are Jewish, and it's a frightening thing for them to promote Christianity." Truer words were never spoken.
But the ADL's chief troublemaker, Abe Foxman, immediately flew into one of his by-now tiresome furies and fired off a letter (which he made available to the news media, of course) to Dolly, scolding her for her innocent, honest comment. Foxman charged that Ms. Parton was invoking "the old antisemitic stereotype of Jewish control of Hollywood and hostility toward Christianity." He did not, however, directly contradict her or deny that Hollywood is controlled by his fellow Jews.
Being the nice person she is and knowing on which side her bread is buttered, Dolly dutifully and publicly apologized. She wrote to Foxman, "I regret that my words could have conjured up an impression of Jewish 'control' of Hollywood." Ever the arrogant, whining bully, Foxman accepted Ms. Parton's atonement, informing the media that is was a "refreshing capitulation." And the Hollywood lie lives on.
...
It is bad enough when a group representing less than three percent of the American population -- and many of whose members have a self-proclaimed first loyalty to a foreign nation -- should be in control of so many of America's cultural, financial and governmental institutions. But it is positively insulting for them to deny their influence and power -- particularly when they themselves are continually boasting in their own circles about their "overrepresentation" in these fields. And it is absolutely infuriating when this denial reaches the point that non-Jews are attacked by Jewish agitators and Zionist zealots for stating obvious facts and truth.
Most Americans have always been suspicious of too much power in too few hands. That's what the Constitution is all about. And that is why we have never trusted elitist groups which have tried to dictate to us. So, if we don't trust the old-line establishment, the old elite, why should we not be suspicious of the new elite -- the Jewish establishment -- and its excessive power in America.
Iranian TV Documentary Series Traces Zionist Themes in Western Movies: "Saving Private Ryan"
Following are excerpts from an episode of an Iranian documentary series on Hollywood cinema, featuring "Saving Private Ryan," which aired on IRINN – the Iranian News Channel on May 27, 2008
:
Narrator: The concentrated efforts of the Zionist lobbies in America have led the U.S. government to be the greatest supporter of the regime occupying Jerusalem. In recent years, following the exposure of certain information, hatred towards the Zionists has developed and intensified among various sectors of society in this country. Therefore, some of the efforts of the Zionist propaganda machine are intended to improve the image of Zionism, and to paint a false picture of the historical role of the Zionists in American society.
[...]
Dr. Majid Shah-Hosseini, an Iranian film critic: [In "The Matrix"], Zion symbolizes the utopian Jewish Zionist land. These are the roots of Zionism. How come in such a popular and seemingly fictional American film, the utopia of liberty and humanity, which heralds the era of modernity – in the technical, rather than theoretical sense – is symbolized by a Zionist name – "Zion"? Moreover, names may be selected for their rhyming value. "Zion" sometimes becomes "Ryan," as in "Saving Private Ryan." They exploit even the similarity of names. The Jewish Steven Spielberg, whose previous film, "Schindler's List," reflected Zionist goals, and who turned the false story of the holocaust into an influential movie, is now making a new movie, about Private Ryan.
[...]
Murtaza Ali-Abbas Mirzai, an Iranian documentary filmmaker: In "Saving Private Ryan," one sees that they are the ultimate plunderers. The scene in which the officer puts some earth from various countries into cans was just a preview of what they are doing now – taking the land of Iraq, Afghanistan, and the European countries.
[...]
Narrator: While the blacks and other minorities protest the fact that Hollywood ignores their role in American history, but to no avail, prominent films like "Saving Private Ryan" highlight the role of Jewish soldiers. By exaggerating this role, the Zionists seem to be trying to achieve legitimacy for their post-war actions. In the military cemetery shown in the opening scene of the film, the picture has been edited to draw attention to the Jewish graves among others.
[...]
Among the more unpleasant scenes of the film are the scenes in which a Jewish soldier directs his rage towards German POWs. When he sees some German soldiers wearing jewelry with symbols of his religion, this soldier has a fit of rage and attacks them. In these scenes, the film director presents a completely sympathetic view of this soldier's rage towards the helpless POWs. It seems as if this cry of rage is the cry of Zionism validating the crimes perpetrated by Zionism after the world war.
Jewish T.V. Producer Angers
Latinos Over "Kingpin" Series
by
Hector Carreon
La Voz de Aztlan
Los Angeles, Alta California - February 4, 2003 - (ACN) On April 5, 1996, actor Marlon Brando said on "Larry King Live" that Jewish owned Hollywood exploits stereotypes of racial and ethnic minorities for their own benefit. Brando said, "We've seen the nigger, we've seen the greaseball, we've seen the Chink, we've seen the slit-eyed dangerous Jap, we've seen the wily Filipino. We've seen everything, but we've never seen the kike!" Marlon Brandon is totally right. Mexicans and other Latinos have been the primary victims of Jewish film and T.V. producers ever since Warner Brothers depicted actor Alfonso Bedoya as the quintessential "Bandido" in the "Treasure of the Sierra Madre" (1948).
Today, the situation is no different. Yesterday, the League of United Latin American Citizens (LULAC) and the National Council of La Raza (NCLR) blasted the Jew Aaron Spelling of Spelling Television, Inc. and the Jewish controlled NBC Television Network for depicting Mexicans and Mexican-Americans as drug dealers and murderers in the TV series "Kingpin" that is airing on Sundays. The new TV drama about a drug cartel run by a Mexican family, "is a slap against Latinos that will reinforce prejudices" said the two civil rights groups.
Aaron Spelling, the Executive Producer of the series, grew up the son of a poor Jewish immigrant family from Russia in Dallas,Texas. Mr. Spelling has not returned telephone calls from La Voz de Aztlan and the television network had no immediate comment. Both Spelling and NBC are utilizing the series' assistant producer David Mills, who is Black, to respond to the Latino community's concerns. Mr. Mills has, for all intents and purposes , thrown the "middle finger" at the Mexican-American community on behalf of Aaron Spelling and NBC.
Other Latino groups are calling for a national boycott of NBC and it's advertisers. Among these are the National Latino Media Council (NLMC) and the National Hispanic Media Coalition (NHMC) based in Los Angeles. A spokesperson for NHMC said, "Are we going to see week after week, all these Mexicans killing each other and DEA agents?" Esteban Torres of NLMC said, " 'Kingpin' amplifies the stereotypical images that we've been fighting for so long to eradicate."
with his insights on the movie industry and psychoanlysis industry!
Brando's first Jewish analyst, early in his career, was Bela Mittelman, "the coldest man I've ever known." ... "Acting afforded me the luxury of being able to spend thousands of dollars on psychoanalysts, most of whom did nothing but convince me that most New York and Beverly Hills psychoanalysts are a little crazy themselves, as well as highly motivated to separate patients from their money while making their emotional problems worse" (Brando, 124, 243). Brando was not much endeared to Lee Strasberg either, calling him "an ambitious, selfish man who exploited the people who attended the Actors Studio, and he tried to project himself as an acting oracle and guru. Some people worshiped him, but I never knew why" (Brando, 85).
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He's absolutely right. I believe that 80% of the time people don't need psychoanalysis. It just serves to mess up the mind and to cause more ridiculous doubt of one's own integrity. Pure highway robbery of a healthy mind and the wallet.