American actress-director-producer Jodie Foster has come under fire for not throwing her friend, Academy Award-winning actor-director Mel Gibson, under the bus. The two have known each other since they met on the set of Maverick (1994).
Gibson has been systematically hounded and maligned since he made the Christian motion picture The Passion of the Christ (2004). It grossed $611,899,420 worldwide and $370,782,930 in the US alone, surpassing every motion picture Gibson had starred in previously. (He directed, but did not star in, the movie.) In the US it became the eighth (at the time) highest-grossing film in history, and the highest-grossing R-rated film ever. The Passion was nominated for three Academy Awards and won a People’s Choice Award.
Obviously, Hollywood is not motivated solely by profits. More important is the propagation of specific forms of racism, religious bigotry, and political correctness—in other words, social control.
When Jews socially suppress a viewpoint, they attack—viciously—anyone associated with the ideas being marginalized. An essential element for success is the ostracism associated with the witch hunt. Everyone must revile the victim in the most demeaning manner imaginable, withholding support or comfort of any kind.
The motivation is two-fold: out of hatred and vengeance to hurt the Christian, white, anti-Communist, Arab, or other victim to the maximum extent possible, and, at the same time, to teach others that they must not dream of leaving the playpen in which they’ve been confined.
Escaping the Playpen
In clear contravention of this charge, Jodie Foster recently directed a motion picture starring Gibson, The Beaver (2011), in which she co-stars. According to the Hollywood Reporter, casting Gibson “‘was a challenge for distribution,'” Foster acknowledges. ‘They wanted an anchor as well’ — a key reason she cast herself in the co-starring role.”
So the actress put herself and her career on the line. The Jewish threat is palpable, and everyone knows it: “She still has decades of productive work, and it matters. So it’s heartbreaking that this second [the first was obsessive fan John Hinckley’s shooting of President Reagan] intersection with a public maelstrom might get in the way.”
A curious accident occurred on the set of The Beaver, when Gibson was required to hit himself with a prop lamp: “‘It was a very big, emotional scene, the last thing we shoot in the entire movie,’ Foster notes. ‘Our prop department messed up and didn’t score the fake lamp properly; half of it was real, and when he smacked his head, it just — whoosh! — blood was gushing everywhere.'”
In a May 2011 interview with Guy Raz, the Jewish host of National Public Radio’s Weekend All Things Considered, Foster was questioned about her decision to support Gibson after everyone else had abandoned him. She said, echoing similar statements in previous interviews over the years:
As far as walking away from someone who’s struggling, I mean, if you love somebody, and you know them, and they have proven themselves as a friend over and over again in your life, and they’re somebody who’s really a member of your family, when someone’s struggling, you don’t walk away from them. You stand by them. I’m not interested in running away from him. The Mel Gibson that I know, that I’ve experienced, and that I know intimately — and I think I can probably say you don’t know — is an extraordinary man. And no one can take that away.
This way of thinking and acting was very characteristic of our people in the pre-totalitarian era. Of course, it was never universal, but it happened at every level of society far more often than you’d dream by observing today’s population.
Such integrity requires true moral and social courage. It is more impressive by far than mere reckless physical behavior associated with extreme sports or contemporary military or police duty, which huge numbers of people engage in regularly without difficulty (indeed, they seek it out—it’s fun).
Foster is a member of that curious set of Hollywood figures who come from privileged backgrounds: John Lodge, Katherine Hepburn, Humphrey Bogart, Otto Kruger, director Robert Aldrich.
She attended a French-language prep school, the Lycée Français de Los Angeles, and since her teens has frequently lived and worked in France. She reportedly speaks French without an accent, and dubs herself in the French-language versions of most of her films. A magna cum laude graduate of Yale, she is a descendant of Mayflower passengers John and Priscilla Alden and William and Alice Mullins. (Only her father’s genealogy is provided online; her Bronx-born mother’s, née Almond, is not.)
Leni Riefenstahl Film Project
Foster has also been attacked for her desire to produce a motion picture about the life of legendary German filmmaker Leni Riefenstahl (Triumph of the Will, Olympia). The project never got off the ground, however, and appears to be dead: “‘I’ve never been able to crack it, really,’ she says. ‘I just was never able to get the scripts in the shape they needed to be.’ She shrugs, trying not to let it weigh on her. But the sense of loss is there and perhaps always will be.”
It’s not absolutely clear that Foster intended to make a sympathetic or even objective picture about Riefenstahl, although one assumes so. Her co-producer on the project, Gabriele Bacher, told a journalist in 2007 that the film would not be a “whitewash” of the controversial filmmaker.
Ordinarily, the Jewish path would be clear at this point. They would proceed to make Foster’s life hell, threatening her career, until she recanted and joined the mob hurling stones at Gibson.
Will Foster’s lesbianism protect her? In the Jewish imperium, Gentile homosexuals do not have carte blanche to think, do, or say whatever they please, but they have more freedom than heterosexuals.
Time will tell.