The Sum of All Fears
by Mark Rivers
I realized that I was witnessing the annihilation of the city of Baltimore.... -- The Turner Diaries, page 188.
A VNN reader requested a review of this movie, which I'm not sure I would have seen otherwise. It looked like the same old garbage to me; a young White guy (Ben Affleck) is helped by a fatherly negro (Morgan Freeman) in an effort to save the world, probably from White (or possibly Arabic) heavies.
Not surprisingly, that is exactly what "The Sum of All Fears" is about; the terrorists are neo-Nazis (which is what you are if you're reading this review; the police are monitoring your computer, and they're on the way to your house right now. Have your hands in the air when they arrive). In Tom Clancy's 1991 novel (upon which this movie is based), the terrorists were rag-heads, but that's a sort of a no-no in these sensitive times. The Jews prefer now to merely IMPLY that Arabs are terrorists, then chastise any Whites who suggest the same thing.
The producers of "The Sum of All Fears" are Jew Mace Neufeld and PJ Stratton Leopold. The film was co-written and directed by Phil Alden Robinson. I could find nothing on the Internet that said whether Robinson is a Jew; only a few hints here and there that he might be. If anyone out there can confirm his ethnicity one way or the other, please let me know. Also starring in the film are Jew Ron Rifkin and half-Jew Liev Schrieber.
The negro count is pretty high; Morgan Freeman plays a CIA top dog who repeatedly advises the president (longsuffering James "Ichabod" Cromwell) on matters of international importance. The first lady in this movie is half-Jewish, thereby establishing the president as someone worth having in the oval office. Otherwise, he would have been just a White man. In the movies, White men must have a "tolerance factor" before the Jews will allow them to be shown as good guys. They must have a negro friend or mentor, a Korean old lady neighbor, or a 12-year-old Mexican paperboy...or a half-Jewish wife.
As for the film's neo-Nazi antagonists, they seem to be much more organized than we are in real life. They have an Austrian ex-parliamentarian at the helm, unlimited funds, worldwide collaboration, a couple of Nordic specimens making deals and executing former partners, and one garden-variety American racist dolt.
The unshaven, psychotic, American collaborator does lots of racist stuff throughout the movie, like being terse with his negro co-worker, and blowing up several thousand people. He is eventually betrayed and rubbed out by his European partners (ya just can't trust those darn Europeans). Meanwhile, at least 90% of the military men are sharply-dressed and articulate negro males. Negro generals, commanders and advisors are all over this movie, each making a solid contribution to the salvation of the world.
The villains' plan is to detonate a nuclear device inside the United States, and then somehow make the government think that the Russians are responsible. You see, after America and Russia destroy each other in the war to follow, the neo-Nazis will swoop in and take over. The film begins by explaining the origin of the plutonium to be used in the nuclear device. Some opening captions tell us that poor, picked-on Israel was invaded by Egypt and Syria in 1973, so the Heebs were forced to keep one H-bomb on a jet at all times, just in case their ground forces (defense forces, of course) were overrun.
During this prologue, the Israeli "loving husband and father" at the jet's controls, briefly distracted as he reaches for the picture of his wife and infant son, is blown up by an enemy missile. Cue violin music as we pan across the smoke-filled wreckage, coming to rest on the slightly charred photo. Boo hoo hoo, poor little Jew. The plutonium for the bomb, we find out later, was stolen from Americans, by Americans, and sold to the unsuspecting, poor-but-honest yids.
29 years after the crash, a couple of junk-scavenging rag-heads stumble upon the undetonated nuke. They sell it to the "neo-fascists," who hire some Russian scientists to fashion the leftovers into a suitcase bomb. The mean ol' racists then deliver the souped-up superweapon into the U.S.A.
About halfway through the movie, we are treated to a spectacular sight -- as I was watching it, our manual sprang to life. When I saw those happy, multicultural faces at the Superbowl, I knew we were in for a treat. When the smiling, peace-loving rainbow folk were obliterated, I smiled. Then I realized that I was not supposed to smile. I, like the rest of the audience, was supposed to gasp with horror at what I had just seen. "The nerve of those racists -- blowing up innocent people! What? It's only a movie? Well...that doesn't matter! Nazis are bad! Bad, bad, bad!" (That was the audience participation dialogue printed on the back of the popcorn bag).
The shots of the ill-fated football crowd even include a young, blonde woman holding a mulatto toddler, just to drive home the point that we neo-Nazis, should we ever get our act together as expertly as the ones shown in "The Sum of All Fears," will threaten the life and well-being of normal, everyday White Americans. By the way, if you want to be a normal, everyday White American, you are expected to approve of your women bearing the abominable ape-children of Buck Spade. Mom and Pop America are helping pay for and raise Murray Rothstein's caramel-colored army of 2050. They just don't know it yet.
Things have to change. There are already enough White grandparents in this country who, instead of retirement, work part-time jobs in the fast food industry, so they can help support the brood of mongrels their MTV-influenced daughter is bringing into the world. The fleeting shot of a blonde woman with a half-breed brat on her hip is just the Jews' way of saying, "This is what's normal; this is what's good; and those awful, racist White men want to put a stop to it. How dare they! Did you see that explosion? That is what those terrible racists are planning for your sweet daughter and her innocent child."
That's right Hymie. That is exactly what we're planning. And then we're coming after you.
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