Movie Review: 'Playing Mona Lisa'

by Rich Brooks

30 March 2004

I did something the other day which I rarely do: sat down and watched an entire movie on HBO. The movie was "Playing Mona Lisa," not to be confused with the more recent Julia Roberts film "Mona Lisa Smile." The only reason I subscribe to HBO is that I am hopelessly addicted to The Sopranos and that show is finally beginning a new season. I was prompted to watch "Playing Mona Lisa" because I was intrigued by the complete and utterly self-conscious jewiness of this film. I think it is instructive sometimes to study the enemy to better understand exactly what he is up to. The producers were three Sheinbergs -- Bill, John and Sid, who are presumably brothers -- and the director was one Matthew Huffman. Jew-queer Harvey Fierstein has a leading role essentially playing himself, and the aging former Mr. Barbra Streisand (aka Elliot Gould) is also featured prominently. No doubt there are many others of The Chosen I've overlooked who had some hand in this thoroughly kosher production. After all, this film was based on a play by Mami Freedman entitled "Two Goldbergs on Acid"!

Strangely enough, the lead character of Claire Goldstein is played by the red-haired and presumably non-jewish Alicia Witt. Claire is a talented pianist at the San Francisco Conservatory of Music, but she has failed in her "Tchaikovsky Competition" audition and her career is seemingly at a dead end. Not only that, but her boyfriend now claims that he was drunk when he proposed to her, and ends up ditching her when she excitedly tries to accept the proposal. To make matters worse, there is an earthquake which forces Claire to evacuate her condemned San Francisco apartment and move back home with her sister and parents Gould and Marlo Thomas. Funny, seeing Arab Thomas playing a jewish mother, but she manages act appropriately obnoxious. Because they are jews, there is a lot of whining and kvetching going on in this movie, and at times you are forced to ask yourself, "Aren't these people ever happy?"

There is also a lot of profane and graphic talk about sex between Claire and her jewess girlfriends. These jewish american princesses are a truly lovely lot, and it is no wonder that their love lives are in such a state of disarray. It is no wonder that so many jewish men take up with shiksas, one of the many yiddish terms alluded to in this "icky, unfunny comedy" (as one critic appropriately called it). Unlucky in love, our formerly diligent musical genius turns into a party-going, drug-taking jewish American slut. The lisping Fierstein plays the part of her piano teacher and mentor, a homosexual she confides in as one of her "girlfriends." Gould as her father has been thoroughly de-balled; in fact I don't think there's a real man portrayed in the whole movie. Everyone is a freak of some kind or another, but jews somehow seem to revel in their dysfunctionality.

The main thing that strikes me about watching such a jewish film -- and there have been many other such tribal "insider" flicks made -- is that these kikes are not afraid of stereotypes and are not afraid to air their dirty linen in public. Unfortunately, this tendency to "let it all hang out" has infected our society as a whole. Nothing is too private or personal, and no subject is taboo in the eyes of the jew. Hymiewood always seems to assume that jewish values are those of their audience, and does its very best to normalize such attitudes even while trying to make light of them as harmless idiosyncrasies. This, I think, is the real reason jews have become so unglued over Mel Gibson's success with "Passion." As others on VNN have previously commented, there is a real hunger among moviegoers for films which don't mock their values and don't try to normalize depravity.

Another thing that struck me about "Playing Mona Lisa" is how the movie inadvertently shows the entire clan as residing in a single neighborhood encompassing New York, Boston, Los Angeles and San Francisco. To jews, all else in America is "flyover country." This insularity is also evident in such shows as Seinfeld producer Larry David's Curb Your Enthusiasm -- another thoroughly jewy program on HBO (although, unlike "Mona Lisa" CYE is actually pretty funny at times).

That leads me to offer a perhaps workable solution to the Jewish Problem. I'm a generous person, and I'd be willing to let the jews have these East and West Coast cities, even though these once-great urban centers were originally built by White Christians. I'd also throw in Miami and even Chicago for good measure, but only on two conditions. I say to jews the following:

First, you must allow Whites all the rest of the United States (you don't much like it anyway), and secondly, you must keep all of the niggers and assorted gooks and shitskins who currently inhabit your coastal enclaves. You may not sell your newspapers or show your moves or air your television programs anywhere in White America. You will not attempt to assert your cultural influence anywhere outside of your newly designated homelands, and this includes universities and financial institutions as well as media. In exchange, we'll allow you to live in peace as long as you don't interfere with our non-interventionist foreign or domestic policies. If, however, you attempt to break this agreement, be forewarned that we will have to reconsider a more "final" solution.



For more by Mr. Brooks, visit White Alert.

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