AI : Artificial Intelligence
by Mark Rivers
It's not easy to watch a movie written, directed and co-produced by one of Hollywood's most
powerful and hateful Jews without being at least a little suspicious of his intentions.
Spielberg's Indiana Jones trilogy in the 1980s made a generation of young moviegoers
hate Germans, without making us question why.
In the 1990s, Spielberg gave us (among other treats) Schindler's List, the Gone
With the Wind of "Holocaust" epics. In that film, we are asked to believe that the
evil Germans rounded up the Jews (nobody else), shot them, and/or put them to work in camps
and THEN shot them. Oh, and they raped the Jews as well.
Any White American kid who sees these images time and time again, is whipped into a
anti-German frenzy by the time he reaches adulthood. That's exactly why Jews are so
untouchable these days; for 50 years, they have been putting on FICTIONAL movies, plays and
TV shows that tell White America that anyone who opposes Jews is just like those evil,
nasty Germans.
So, what is the movie A.I.: Artificial Intelligence all about? Well, there is nary
a Nazi in it. There doesn't seem to be much of a Jewish presence, either. A.I.:
Artificial Intelligence is about a robot-boy in the future who longs to become a real
boy. Think of it as Pinocchio meets Blade Runner.
In the future, robots (or "mechas"), are highly advanced, and serve a number of functions:
manual labor, chefs, nannies, prostitutes/gigolos, soldiers, comedians, etc.
Professor Hobby (William Hurt) discusses the idea of a mecha child who will fill the void
for parents anguishing over the loss of their own. He is counterpointed by his smartly
dressed colleagues, who make up a very racially diverse group (what a shocker).
The articulate negress in a power suit at the head of the table points out that the real
"conundrum" (I wonder how many bananas it took the dialogue coach to get her to pronounce
it correctly?) is whether parents could actually love a mecha child.
The first mecha child, David (Haley Joel Osment) is created and shipped to the home of
Henry and Monica, a yuppie couple whose own child, Martin, is in cryogenic storage until
they find a cure for an unspecified disease.
Monica, after her initial reticence, warms up to David, and even gives him "Teddy," an
early-model mecha Teddy Bear, who, throughout the movie, acts as a sort of "Jiminy Cricket"
for David.
Henry warns Monica that, once she accepts David, she has to signify by vocally entering
"code words" that will hard-wire "love" for only them into David's computer brain. If they
later reject him, he will be sent back to the factory and destroyed.
Monica throws caution to the wind, says the words, and for about three days, everything
goes fine. Then, predictably, Martin is cured and comes back home. The rivalry begins.
At Martin's birthday party, a mean White kid stabs David with a cake knife, and David falls
into the pool, dragging Martin down with him. Henry, immediately followed by a big, strong
negro, jumps into the pool to save Martin.
Later, Martin convinces David to snip a lock of Monica's hair while she's sleeping, so that
she will love him even more. As David snips, Monica awakens, freaks out, and she and Henry
have to re-evaluate their "conundrum" (good monkey; here's a banana).
Teddy, for reasons that are explained later, picks up the lock of Monica's hair and keeps
it.
Having reached the conclusion that David is potentially dangerous, Monica drives him out to
the woods and leaves him.
Monica also gives David a few bucks and warns him to beware of the "Flesh Fairs," which are
a sort of demolition derby-Battlebots-gladiator festival. David cries, Monica cries, the
audience cries and Spielberg chuckles as he rakes in more funding for "Schindler's
List II."
Meanwhile, in the big city, Gigolo Joe (Jude Law) satisfies one shiksa client and heads for
another, only to find the second shiksa client dead. Joe has been set up for murder by the
woman's White husband, and is on the run. He meets up with David when they are caught by a
gang of Flesh Fair hunters, led by an evil Irishman.
The Flesh Fair itself is the most blatant anti-White scene in the movie. It is set up like
a combination rodeo/flea market/NASCAR event, and 99% of the clientele are fat Joe-Bob
types. There is one brief shot of a negro family and a Pacific Islander family in the
stands, but I have a hunch this was thrown in so the White fence-sitters wouldn't let it
register that the rest of the crowd was White.
The fairgoers wear cowboy hats, drink beer and yell "Yee-haw!" The music is provided by a
live band resembling Kid Rock or some such White derelict musician. A little White girl
sees David in the holding cage, and since she just happens to be the daughter of the
assistant director, she gets David released.
The evil Irishman, obsessed with killing mechas, grabs David and Joe and drags them into
the arena. He makes an impassioned speech before the crowd about how these mechas are
replacing the "orgas" (organics--humans), and that they must be stopped. Tsk, tsk, what an
evil hater that Irishman is.
David cries and pleads for his life. Since he is the first mecha to do so (and is the
first mecha child they've seen), the crowd is moved to spare him. They rush the floor of
the arena, attack the Irishman and the rest of the Flesh Fair staff, and proceed to tear
the place apart while David and Joe escape.
The mecha-pals (with Teddy in tow) make their way to Rouge City, where the mechas go to
disappear into the woodwork. It looks like a futuristic Las Vegas, complete with a 24-hour
Christian chapel.
David tells Joe he is looking for the Blue Fairy from Pinocchio, who, David hopes,
can turn him into a real boy, just like she did in the book. Apparently, mecha-children
aren't programmed to separate fact from fiction.
Joe tells David, in front of the Christian chapel (and its blue neon crucifix) that, just
like Christianity, "Pinocchio" is only a fable, and people are all too often looking for
answers in a dream world when they can find them in the reality of sex, vice and
pleasure.
Joe then directs David to a computerized "answer booth" called "Dr. Know." They go inside,
put in some money, and Dr. Know (Robin Williams), a computer-animated EINSTEIN pops out and
answers their questions.
Dr. Know tells them that, to find the REAL Blue Fairy, they must go to "the end of the
Earth." He directs them to the ruins of Manhattan, which is now partly submerged under
water. David and Joe steal a police helicopter and fly to the crumbling New York City
Public Library.
Inside, David finds another David mecha, and is so upset by the revelation that he is
neither special nor unique, he decapitates the other David in a fit of rage. Professor
Hobby enters and explains that David IS unique, in that he is the first mecha to search for
his origins, or to strive to become something better.
Professor Hobby then leaves David alone to discover rows and rows of "David" and "Darlene"
mechas, complete with trademarkers and fancy packaging.
David doesn't want to accept the fact that he can never become a real boy, so he decides to
commit suicide. He jumps into the water, sees the Coney Island "Pinocchio" ride (complete
with a Blue Fairy statue), and is snagged out of the water by Joe.
Within moments of drying David off, Joe is captured by the police, and David makes his
getaway into the water in the helicopter, which is apparently also a submarine.
David accidentally knocks over a Ferris Wheel, which traps him at the bottom of the sea as
he prays incessantly but earnestly to the Blue Fairy statue. Two thousand years pass, the
narrator (Ben KINGSLEY) tells us, and when the race of unbelievably advanced mechas
uncovers him from the ice and re-energizes him and Teddy, David still has his sights set on
becoming real.
The mechas of the future tell him they can't make him a real boy, but they can clone his
mother from the sample of her hair Teddy had been holding all this time. The only problem
is, she will only live for 24 hours, then die again, and can never be brought back.
This is fine with David, so he and Monica have one last day in the Holodeck programmed to
look like their house from the past. They have a birthday party for David, she gives him a
bath, they romp and play, etc., and she dies as she falls asleep, but he's happy, because
at least now he can dream, and have that memory and bla bla bla.
So, after 122 minutes, how much White-bashing does this film do? Not nearly as much as
most other films. Remember, though, this comes from Spielberg, If the anti-White
sentiments aren't a-plenty, it's only so more soccer moms will take the kids to see it, and
Spielberg will have that much more money to make more propaganda lies for his
tribe.
True to Jewish filmmaking style, Spielberg throws in a couple of gags that involve sex
and/or scatology. In one early scene, Monica shuts David in a closet so he'll stop being
underfoot. She tells him it's a game of hide-and-seek. In the next scene, he opens the
bathroom door while she's sitting on the toilet, reading "Freud's Women." "I found you,"
he says.
At Martin's birthday party, one of the cruel White kids asks "Do you pee?" When David
tells him that he doesn't, another cruel White kid reaches for David's crotch and says
"Then let's see what you CAN'T pee with."
Jews are sickos.
Chochmoh is the Hebrew word for "Wisdom" or "Knowledge." It is also written, in
Hebrew, in little red letters on the trailer for this film. I looked for some hidden
meaning in this, but as far as I can tell, Spielberg threw it in as part of his Jew pride.
Or, he may just not know the Hebrew word for "sicko."
There might be other anti-White or pro-non-White elements in the film that I missed. The
important thing to remember is that Jews are Jews, and Spielberg is one of their
chieftains. Do yourself and your kids a favor, don't bother with A.I.: Artificial
Intelligence. Instead, read with them. It won't take as long, it won't cost as much,
and it won't fill their minds with Jew trash.
MARK RIVERS
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