| REBUTTAL BY
Though the news of the death of actress Heather Menzies is of no concern to The Anti-New York Times, it does provide us with a good opening for shedding some light on the immense Jewish propaganda value of the classic 1965 musical drama, The Sound of Music, starring, in addition to a young Menzies, the “A-listers” Julie Andrews and Christopher Plummer.
What made SoM such an effective propaganda vehicle was that the poison was delivered within the body of a heartwarming story of an Austrian-Aryan family, and greatly sweetened by the beautiful singing of Julie Andrews and the children. As a song which Andrews herself made famous in Mary Poppins goes: “a spoonful of sugar helps the medicine go down.” And indeed, in the case of SoM, that “medicine” was the not-so-subtle “anti-Nazi” contextual message of the film.
Sugar and I, er, “The Editorial Board” apologizes in advance (actually, we don’t) if we end up souring your previous love for this seemingly beautiful film. But it’s time to set the record straight about the damaging Fake History which serves as its mushy backdrop.
What’s not to love about a musical about a beautiful, happy and loving Aryan-Austrian family singing in the Alps with angelic voices? Plenty! Leave it to “the usual suspects” to drop a poison pill inside a pretty package.
The Sound of Music was produced and directed by Robert Wise (cough cough) as an adaptation of the 1959 Broadway show of the same name, composed by Richard Rodgers (cough cough) and Oscar Hammerstein II (cough cough), and screenplay by Ernest Lehman (cough cough).
Based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, the film is about Maria, a young Austrian woman who is sent to the villa of a retired naval officer and widower, Captain Georg von Trapp, to be governess to his seven children. After teaching music to the children, she marries the officer.
USING ARYAN IMAGERY TO ATTACK THE HATED ARYANS
Behind the facade of the beautiful Germanism of the Sound of Music lurked the usual suspects — Rodgers, Hammerstein, Wise and Lehman.
While away on their honeymoon, the Captain learns that Globalist puppet Austria has been annexed by Germany in the Anschluss (March, 1938). The couple returns to their home, where a telegram awaits informing the Captain that he must report to a German Naval base to accept a commission in the German Navy. Strongly opposed to the big bad “Nazis” ™ and the Anschluss, the Captain tells his family they must leave Austria immediately.
Many of the von Trapp’s friends are willing to accept the new regime, including Rolf — who Liesl von Trapp is devastated to see has joined the big bad Hitler Youth. That night, as the von Trapps attempt to “escape,” they are stopped by a group of big bad Brownshirts ™. When questioned, the Captain tells them that they are headed to a festival to sing. That night at the festival, the von Trapp family slips away and shelters at the nearby abbey, where nuns hide them in the cemetery crypt (rolling eyes — only a Jew could write this crap).
The big bad Brownshirts ™ soon arrive and search the abbey. The family is discovered by Rolf — Liesl’s ex-boyfriend. Upon seeing Liesl, Rolf hesitates, thus allowing the family time to “escape,” by taking a car. When the big bad Brownshirts ™ attempt to pursue the “fugitives,” they discover their cars will not start because the nuns have removed parts of the engines. The next day, after reaching the Swiss border, the von Trapps make their way on foot into Switzerland, where they will live, love, laugh and sing happily ever after.
The hyped-up film became the highest-grossing film of 1965. By November 1966, SoM had become the highest-grossing film of all-time—surpassing Gone with the Wind — and held that record for five years. SoM was also popular throughout the world, shattering box-office records in 29 different countries!
Both the Broadway and Hollywood versions spread the anti-Nazi propaganda thick. In Image 2, Captain von Trapp rips up the German flag. Image 3. Rolf’s decision to join the Hitler Youth and become a big bad Brownshirt ™ cost him the love of Liesl von Trapp.
THE TRUTH ABOUT THE ANSCHLUSS
The post WW 1 Versailles Treaty had broken up the Austro-Hungarian Empire and forbid the new nation of Austria from uniting with Germany. The Anschluss of 1938 was a voluntary incorporation of Austria into the German Reich. The merger with their Germanic brothers was supported by 99% of Austrians and Germans, but opposed by the puppet Austrian government instituted by the Allies after World War I.
But after seeing the great success of Germany, there was no stopping the Austrians desire to unite with their happy brothers and sisters. Without a shot being fired, German forces moved in unopposed and were greeted as liberators by the joyous Austrians. As a brotherly gesture towards the Austrians, The Great One (that’s Hitler for all you newbies and normies) invited Austrian troops to march inside of Germany as well.
When The Great One himself came to visit the land of his youth, he was given a hero’s welcome by the frenzied Austrian crowds. Not surprisingly, the western Globo-Zionist media portrayed the joyful unification as: “Germany Conquers Austria.” So, if indeed the real-life Captain von Trapp actually was “anti-Nazi,” — it was only because he was part of the out-of-touch, insensitive, well-connected, well-fed, top 1% ruling class of puppet Austria, and not part of the starving masses who absolutely adored The Great One.
That’s the truth about the big bad Anschluss. And no amount of Broadway (cough cough) or Hollyweird (cough cough) bullshine, mixed in with angelic-sounding “do-re-me-fa-so-la-te-do” and beautiful Alpine imagery can change it.
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Over-joyed Austrians turn out to welcome The Great One, their hometown-boy-turned-liberator. Image #3, The Great One lays a wreath at the gravesite of his parents.
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Boobus Americanus 1: I read in The New York Times today that actress Heather Menzies passed away. She was one of the singing von Trapps in the Sound of Music.
Boobus Americanus 2: Indeed she was. For its cinematic content, musical score and anti-Nazi cultural significance, the Sound of Music remains a truly immortal film.
Sugar: Sshut the #@&^ up, Boobuss! Sseruiussly, just sshut the #@&^ up!
Editor: ♪ ♩The hills are a-live, ♪ ♩ with the sound of Su-gar. ♪ ♩ |
