by Mark Rivers
From director Baz Luhrmann comes another film that looks like it was shot, directed and
edited by people on drugs. Moulin Rouge has its funny moments, its tender and
touching moments, even its coherent moments, but anyone with epilepsy should stay far,
far away from this movie. The quick cuts, zooms and action may induce a seizure.
Moulin Rouge (which is French for Red Mill) is set in Paris in 1899.
Christian (Ewan McGregor), a penniless, out-of-town writer, stumbles into the company of
Toulouse Lautrec (Colombian John LEGUIZAMO), who is working on a play for Moulin
Rouge, a local hotspot. The club's owner, Zidler (Jim Broadbent), is a P.T.
Barnum-type who seeks the patronage of the evil (White) Duke of Monroth (Richard Roxburgh).
The Duke, in turn, wants the favors of the show's star, Satine (Nicole Kidman).
Christian writes the play, he and Satine fall in love, and everything is fine as long as
the Duke doesn't find out. The Duke does find out, however (thanks to a jealous White
actress), and he is so enraged, he demands that Satine sleep with him that very
Up to this point in the movie, I liked it pretty well, and was almost ready to recommend
it. What stopped me was a scene about 90 minutes into the film. The Duke, you see, is so
horny (and evil), he rips Satine's clothes off, and prepares to rape her.
Suddenly, from behind, clunk! The Duke is knocked unconscious by--gasp--Satine's big,
strong, negro co-star! He was the only one to break the turn-of-the-century propriety and
do what was right. The White folks in the cast just turned their heads, knowing full well
what kind of man the Duke was. Even our White hero, Christian, would not come to his
lady's aid. "Hey, White girls! Only the noble negro can save you from the White villain!
The Duke tells his skinhead bodyguard to kill Christian, but his plan is foiled, the show
goes on, it is a triumph, and Satine, who had been suffering from consumption throughout
the movie, dies in Christian's arms at the end. Boo hoo, that White guy sure is
In Baz Luhrmann's last film, Romeo + Juliet (1996), he turned the part of martyr
Mercutio into a negro fag. Luhrmann, like his Jew and shabbes goyim cohorts
in Hollywood, will find a way to sneak a noble negro into the cast at any cost.
Think about it; Robin Hood: Prince of Thieves (1991)is set in medieval England,
yet they go to great lengths to establish a negro as a "good guy." In Sommersby
(1993), a negro judge shows up IN THE OLD WEST, to the chagrin of the White Southerners
in the courtroom. In the TV series Star Trek: Voyager (1995-2001), we not only
have a militant dyke, a feather-head and a Korean, we have a negro Vulcan! Finally, and
most unbelievably, in Gladiator (2000), the Roman hero is assisted by a negro.
This is simply not the way it is in real life.
Yes, I realize that the planet Vulcan is not a real place, but it doesn't make sense that
an inhabitant of a planet without a sub-Saharan Africa would have the appearance of a
common gutter negro of this planet.
The point is, in reality, in each of the above-mentioned settings (medieval England, the
old West, ancient Rome), negroes, if present, were little more than trained monkeys.
But the Jews are not interested in reality. They are interested in manipulating the minds
and the opinions of the sheeplike public.
Remember, the negroes living in Africa today are still swinging from trees and eating their
young. The ones who have been breeding in the U.S. for the past couple of centuries have
only barely adhered to whatever concept of civilization we have taught them. Slowly
but surely, the Jews are trying to convince the Whites that negroes are normal, functioning,
literate and helpful members of society. The more we let ourselves believe it, the closer
we come to letting them overcome us. That's exactly what the Jews want, and we cannot...we
MUST not let them get away with it.
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