An excellent example is the 1944 movie, "Address Unknown." Another sob story about those nasty Nazis going after Jews, but no mention of the holocau$t or gas chambers or death camps or massive piles of dead Jews.
If you're a fan of old movies from the 1930's-50's, like I am, you've seen your share of WWII flicks and the "Oh, those poor Jews" pics. I've seen many of them, some more than once and not once did they mention anything about 6 million dying in the holocau$t, or death camps or gassings or any of the other favorite lies of the world's biggest racket, the holocau$t.
Why is exposing this racket important? Because without the phony sob stories of the holocau$t, there would not have been an Israel. And without that psychotic State of Hate existing, the world would be a much more peaceful place.
No, we had to wait until the late 1960's to get the full holocau$t treatment, which helped cover up Israel's massive crimes against humanity and war crimes against Egypt (United Arab Republic), Palestine and Syria during Israel's illegal and immoral 1967 'Six Day War.'
And the brutal, deliberate and unprovoked Israel attack against the USS Liberty by Israel.
Who would dare question the slaughter of us GOYIM when there was a manufactured crisis at hand, in the form of the holocau$t?
Address Unknown (1944 film)This gets very interesting around the 5:09 mark. The scenes where--I'm guessing--blond hair, blue-eyed Nordic types start screaming "Juden" are a propagandistic work of art.
Two close friends, Martin Schulz and Max Eisenstein (Morris Carnovsky), are German expatriate art dealers living in the United States. Martin's son Heinrich (Peter van Eyck) and Max's daughter Griselle (K.T. Stevens) are in love. However, she turns down his proposal of marriage for the time being, as she aspires to become an actress. When Martin and his wife return to Germany for business purposes, Griselle accompanies them to seek acting opportunities there. Max and Heinrich remain in San Francisco to run the art gallery, while Martin sends them paintings to sell. Martin sends a strange painting from an unknown artist to Max as a joke, the "unknown" artist being Pablo Picasso. A determined patron (Mary Young) insists on buying the painting, over Max's well-intended protests.
Martin meets the influential Baron von Friesche (Carl Esmond), a dedicated Nazi, and joins the Nazi party, becoming an important official in the new regime. But Max is Jewish. Martin eventually insists they stop writing to each other, as his new associates would not approve of it. Suspecting that Martin is hiding his true feelings from Nazi censors who examine the mail, Max has an American friend personally deliver a letter to Martin. However, Martin coldly makes it clear that Max is mistaken: his antisemitism is now genuine.
After acting in Vienna for a time, Griselle lands the leading role in a play in Berlin, under the stage name "Griselle Stone". Her lines include the Beatitudes, such as "Blessed are the peacemakers, for they shall be called the children of God", but during the final rehearsal a censor (Charles Halton) declares that the lines are contrary to Nazi doctrine and must be removed. At the premiere, Griselle ignores the order, inciting the irate censor to demand the play be stopped. Griselle admits that she acted on her own. When the censor demands to know her real name, her obviously Jewish surname rouses the hostile crowd to riot. The play's director hurries a still-defiant Griselle out of the theater for her own safety.
Finally realizing her danger, she flees into the country. She makes her way to Martin's estate, barely ahead of her Nazi pursuers. However, Martin shuts the door in her face, and at once several gunshots ring out. Martin's wife Elsa (Mady Christians) witnesses the exchange and is appalled by her husband's heartlessness. Max and Heinrich learn of Griselle's death in a short, cold letter in which Martin states only that Max's daughter is dead.