It concerns a 1948 movie, "Oliver Twist," based on the Charles Dickens novel of the same name.
World Jewry raised so much hell about the excellent British actor Alec Guiness' portrayal of the parasitical money-grubbing, violent thief Fagin that the movie wasn't shown in the USA until several years after release and only after seven minutes had been cut, mostly of profile shots of Fagin.
But the author, Charles Dickens, based the character of Fagin on a London Jew, Ikey Solomon, a notorious Ashkenazi Jew thief who somehow managed to escape his court ordered punishments several times????
Dickens (who had extensive knowledge of London street life and child exploitation) explained that he had made Fagin Jewish because "it unfortunately was true, of the time to which the story refers, that the class of criminal almost invariably was a Jew".
The Jews used the Production Code Administration's (PCA) code that said in part, "... any elements or inference that would be offensive to any specific racial group or religion," would need to be eliminated.
The PCA was in existence from 1930-1967, existing in the time frame for movie studios to show the public snarling Nazis, and devious Orientals who would like nothing better than to slit your throat, while always showing the Jew in a kindly light.
That was then, but what about now?
How many movies are out there with actors, many of them Israelis, portraying blood-thirsty Arabs, wielding machine guns and shouting "Allahu Akbar" to the audience before they gun down helpless victims?
And that was before the FALSE FLAG/INSIDE JOB of 9/11, which only made Hollywood movies even more discriminatory against the Muslim world.
World Jewry would claim that the obese couple on the right is an anti-Semitic portrayal, but that wouldn't be true, since Jews are from Europe. The only true Semites are the indigenous Palestinians, Lebanese, and other formerly and current nomadic people in the area.
Alec Guinness's portrayal of Fagin and his make-up was considered anti-Semitic by some as it was felt to perpetrate Jewish racial stereotypes. Guinness wore heavy make-up, including a large prosthetic nose, to make him look like the character as he appeared in George Cruikshank's illustrations in the first edition of the novel. At the start of production, the Production Code Administration had advised David Lean to "bear in mind the advisability of omitting from the portrayal of Fagin any elements or inference that would be offensive to any specific racial group or religion." Lean commissioned the make-up artist Stuart Freeborn to create Fagin's features; Freeborn (himself part-Jewish) had suggested to David Lean that Fagin's exaggerated profile should be toned down for fear of causing offense, but Lean rejected this idea. In a screen test featuring Guinness in toned-down make-up, Fagin was said to resemble Jesus Christ. On this basis, Lean decided to continue filming with a faithful reproduction of Cruikshank's Fagin, pointing out that Fagin was not explicitly identified as Jewish in the screenplay.
The March 1949 release of the film in Germany was met with protests outside the Kurbel Cinema by Jewish objectors. The Mayor of Berlin, Ernst Reuter, was a signatory to their petition which called for the withdrawal of the film. The depiction of Fagin was considered especially problematic in the recent aftermath of the Holohoax.
As a result of objections by the Anti-Defamation League of B'nai B'rith and the New York Board of Rabbis, the film was not released in the United States until 1951, with seven minutes of profile shots and other parts of Guinness's performance cut. It received great acclaim from critics, but, unlike Lean's Great Expectations, another Dickens adaptation, no Oscar nominations. The film was banned in Israel for anti-semitism. Ironically, it was banned in Egypt for portraying Fagin too sympathetically.
Beginning in the 1970s, the full-length version of Lean's film began to be shown in the United States. It is that version which is now available on DVD.