Along Came a Spider
by Mark Rivers
Lee TAMAHORI, the director of Along Came a
Spider, tries to convince us that negroes are good
and Whites are bad. He gets a little help from his
producers Morgan Freeman, Marty HORNSTEIN and David
Brown (husband of Cosmo bigshot Helen Gurley Brown).
In Along Came a Spider, Morgan Freeman, lord of the
apes, is a smart and sophisticated cop, just like he
was in Seven. As a doctorate-holding investigator,
he tracks down a madman who kidnaps young girls, just
like he did in Kiss the Girls. He has a showdown
with the White villain, just like he did in Robin
Hood: Prince of Thieves. After the movie is over,
the audience feels like they've been gypped, just like
we did in Deep Impact.
Morgan Freeman is Hollywood's negro answer to the
older, distinguished leading man. That's why, when we
are asked to believe that a negro can string two
sentences together, Morgan is their porch monkey du
jour.
Naturally, in Along Came a Spider, all the villains
are White. Even the sexy, blonde secret service agent
(Monica Potter) is in on it. The story is set in
Washington, D.C., so it's little wonder that there are
plenty of negro extras shucking and jiving throughout
the picture.
What's amazing, though, is that so many of these negro
extras are placed into crucial roles. They are seen
as law enforcement agents, decoding computer secrets,
making astute observations that help with the case,
etc.
Whereas the Whites in Along Came a Spider are either
victims, villains, pig-headed cops, or cops who turn
out to be villains. This is nothing new; try to think
of three movies within the past decade that have
featured a White cop versus a negro villain.
I can think of only two: Demolition Man and
Unbreakable. Let's take a closer look at each of
them.
Demolition Man (1993), produced by Joel SILVER,
pitted dumbbell Stallone against smooth and witty
Snipes. Stallone's good-guy helpers were a woman
(Sandra Bullock) and the Mexican Alfredo Garcia
(Benjamin Bratt). Snipes' bad-guy helpers were White.
Unbreakable (2000), directed by dot-head M. Night
Shayamalan and produced by Roger BIRNBAUM, had
simpleton security guard Bruce Willis face off against
Luthor-like genius villain Samuel Jackson. The only
villain Willis fights is a White psycho. The others
Willis scouts as villains with his mind-reading powers
in the train station are:
1) a White woman shoplifter
2) a White frat-boy dead-fisher
3) a White guy in a truck who smashes a bottle on a
negress' head and yells, "Go back to Africa!"
The Jews have a few very simple rules when it comes to
portraying good vs. evil:
1) White hero vs. White villain(s)--permitted.
2) White hero assisted by minorites vs. White villain
(s)--preferred.
3) Minority hero team vs. White villain--even better.
4) Negro hero vs. White villain--perfect!
That is why there are so many movies out these days
with that very theme, and if you look closely, you
will see that Jews are behind the scenes, pulling the
strings, EVERY TIME.
It's up to you as to whether they will continue to get
away with it. If it goes on, the White population
will continue to be demoralized, disarmed and dropping
in numbers until America resembles South Africa,
Zimbabwe or...Washington, D.C.
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