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Movie Review: 'People I Know'
by Rich Brooks
24 July 2004
I first became aware of this movie well over a year ago, when the National Alliance featured a review of it on one of their American Dissident Voices broadcasts. "People I Know" was first released in April 2003, although it had been made back in 2001. The initial theatrical run was limited to a few select theaters in New York and Los Angeles - art houses, if you will - and for some reason it was never given any wider distribution. I thought this was somewhat strange, because it is a Miramax film and features such big-name stars as Al Pacino and Kim Basinger. It is also unusual that the video version was never released until just this week, July 20, 2004 to be exact.
The NA reviewer profusely praised this jew-made film for its revealing look at the world of jewish power and corruption. He suggested that the movie might be pulled from theaters because of this, and in fact it was. I'm not so sure that Hymiewood studios pay too much attention to what some film critic on a neo-Nazi website has to say, so I'm skeptical of any cause-and-effect relationship between the NA's praise for the film and its subsequent removal from theaters. I also don't think the film would really have had that much of a political impact on viewers who were not already jew-aware, but perhaps the jews in charge of distribution didn't want to take any chances.
Gentile Al Pacino plays the lead role of Eli Wurman, a New York jew celebrity press agent and liberal Democrat political activist. Italians and jews share so many physical similarities that they are often used interchangeably in movies. As it is, Pacino is perfectly cast for this role as a fast-talking kike whose career has now hit the skids. He has hit the skids physically as well, as he is constantly popping pills and chasing them with booze to keep himself going. This drug-abuse shows in his haggard appearance and Pacino literally looks like walking death throughout the movie. But he still knows all the celebrities and the movers and shakers of New York politics, and these movers and shakers are - surprise, surprise - all jewish.
We see pictures in Eli Wurman's office of his past associations with Martin Luther King, Bobby Kennedy, Jimmy Carter and the like, as well as signed photos from the big-name celebrities he used to represent. Now, however, Wurman has only a single client, movie actor Cary Launer (played by Ryan O'Neal), who is himself on the downside of his Hollywood career and considering a run for the U.S. Senate. Eli is still active in left-wing political causes, and as the movie opens, he is planning to hold a big celebrity benefit party the following night to support a group of Africans the government is trying to deport. He seems desperate as he pleads and cajoles and threatens and pulls all the strings he can to get all the right people in New York to attend this event.
For all of the people he knows -- the politicians and the stars and the jewish business tycoons - that is all they are to Eli Wurman, not friends but just people he knows. He is in truth a very lonely man, and hence the title. This movie at its heart is nothing more than a reprise of "Death of a Salesman," and Pacino's character is just another glad-handing but now washed-up Willy Loman. He is a rather pathetic "little jew," as indeed he describes himself at one point, and even I can't help but feel a little sorry for him. Pacino, as usual, gives another great performance, but it is painful to watch him slowly dying before our eyes. His only true friend is Kim Basinger, who plays the shiksa widow of his brother who has committed suicide. Basinger wants desperately to save Eli and wants him to quit the New York rat race and move to Virginia with her. We sense all along, however, that this is doomed to never happen.
We see jewish corruption in high places in the person of Elliot Sharansky, a Big Jew in contrast to "little jew" Wurman. Sharansky is a business tycoon and, along with his cabal of Big Jews, a kingmaker in New York politics. He also runs a floating opium den, located in - are you ready for this? - an office in the World Trade Center. Remember, this movie was made before 9/11 and several of the scenes featuring the WTC were cut.
There is also a black character, a Harlem minister who is a community political leader a la Al Sharpton. At one point he tells Sharansky to kiss his black ass and that black people are the ones suffering a "holocaust." Sharansky tells the nigger not to use that word, a very telling statement about how jews believe they have trademarks rights to "Holocaust." This film is very accurate in pointing out the tension, if not the outright hatred, that exists between the nigger and kike communities. You can see that the jews don't really like "schwarzes" at all and are just using them for their own purposes, i.e., what's "good for jews."
All of the action in this film is confined to a period of 24 hours, and Pacino is in every frame. We witness the murder of a drug-addicted starlet, which brings to mind Marilyn Monroe and her shadowy connections with Big Jews and politicians. This involves another subplot, and one which will ultimately prove fatal to Eli Wurman.. Eli sees more than he should have seen, even though he is too drug-dazed himself at the time to realize it.
Director Daniel Algrant and writer Jon Robin Baitz are both New York jews, and it is evident they have intimate knowledge about both their tribe and their city. I listened to some of the DVD director's commentary, and I was surprised at Algrant's atypical modesty. He is un-jewishly self-critical about several scenes and laments that he didn't have more money to re-shoot some of them. I think the film was generally well put together, however, for something that is essentially a filmed three-act stage play.
In the end, this film is not about action or plot, but rather a character study of an ill and tortured man. I'm not too sure it would have drawn a much wider audience if had been allowed to remain longer in theaters, because the movie is too dark in tone and there isn't enough action to hold the interest of the average moviegoing public. There may very well have been good, entirely non-conspiratorial reasons for not showing it more widely. It may have been a box-office bust in its limited engagement, and the producers simply didn't wish to throw good money after bad.
It doesn't exactly shout out "jews are bad because they are jews" either. I think a lot of the jewish interconnectedness depicted on screen will simply pass over lemming heads. But for racially aware White Nationalists, there are some juicy lines and some characters we can point to as confirming our beliefs. For that reason, I'd recommend watching "People I Know," a pretty accurate portrayal of a people we wish we didn't know.
RICH BROOKS
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