JEWISH SUPREMACY IN MOTION PICTURE WORLD 133 This ill-concealed propaganda of the Jewish movie picture control is also directed against non-Jewish re¬ ligions. You never saw a Jewish rabbi depicted on the screen in any but a most honorable attitude. He is clothed with all the dignity of his office and he is made as impressive as can be. Christian clergymen, as any movie fan will readily recall, were subjected to all sorts of misrepresentation, from the comic to the criminal.
Now, this attitude is distinctly Jewish. Like many unlabeled influences in our life, whose sources lead back to Jewish groups, the object is to break down as far as possible all respectful or considerate thought about the clergy.
The Catholic clergy very soon made themselves felt in opposition to this abuse of their priestly dignity. You never see a priest made light of on the screen. But the Protestant clergyman is stilt the elongated, snivel¬ ing, bilious hypocrite of anti-Christian caricature. More and more the “free love” clergyman is appearing, on the screen. He is made to justify his deeds by appeals to “broad” principles—which really kills two birds with one stone: it degrades the representative of religion in the eyes of the audience, and at the same time it insidiously inoculates the audience with the same dangerous ideas.
In the February Pictorial Review, Benjamin B. Hampton, a successful picture producer, throws a sidelight on this. He quotes a poster outside a movie show. The text says:
“ ‘I refuse to live with you any longer. I de¬ nounce you as my wife—I will go to HER—my free-lover.’ Thus speaks the Rev. Frank Gordon in the greatest of all Free-Love dramas.”