Film Review: "Syriana"

by William Yates

12 January 2006

2005, with George Clooney, Matt Damon, William Hurt, Christopher Plummer. Screenplay by Stephen Gaghan. Producer: jew Dan Weil.

This is not a mall movie. It is propaganda targeting the top 10 percent sitting on the fence. It uses the standard jew m.o.: diversion and complication, to cover the ongoing campaign against nations. How can one tell that "Syriana" is a jew instrument? The J-wod, the I-word and the Z-word are never mentioned -- not once -- nor alluded to. The standard diversions are there: greedy white people, medieval Islamists, bureaucracy, corrupt politicos, the rest. The font of evil in "Syriana" is the Oil People, and the Texas oil thug, a vulgar Irish-German in camera with his comrades discussing -- nay ranting -- how to buy off the people who need buying off. It is stereotyping at its most tedious. (Really, juden, you must do better.) Certain sheiks and senators are not cooperating -- what can be done? Merge and pool resources. Get creative...

The jew sets up screens and operates behind them -- in "Syriana," Saudi princes and muslim "terrorists" who exist as caricatures in the minds of the middle class as strongly as they do in fact. Perhaps more. "Syriana" is excellent as tale and obfuscation. It has gravitas. It is intelligent. It is first-rate propaganda. It is not a thriller. There is no machismo, but rather a workaday sort of desperation in the persona played by Clooney, who does an excellent job as a career CIA field operative. Clooney is manly and obdurate, dutiful and valorous. "Syriana" is appropriate for the contemporary political climate, and apropos for the advanced stage of the campaign jewry is waging against Euro peoples. And it serves as another indication that the ZOG-Capitalist symbiosis is coming down the home stretch. To what? In the film China and Iran are players. The United States is vying with China for Saudi preferment. The Iranians of course hate the United States's guts, as they justly should; we have been mucking up their country since the First World War. "Syriana" brings them all together, these vectors of trouble, ties them into a neat package and delivers it to the goyim. Jew stays behind the screen, waiting for the parties to chop each other down, then step in and put a lien on everything standing.

Diversion, complication: the U.S., the West, Russia, fundamentalist Islam, "terrorists," intelligence operations. No hyperbole necessary here: plain allusions to current and recent events. The assassination of Lebanese leader Harriri (carried out by Israel); Gulf Wars I and II; the decadence and ineptitude of the Saudi royal family. The screenplay is well done. There are no dumb lines. To make sure the latté intelligentsia views it, the Washington Post ran two meaty articles on the film the week it was released. One interviews screenplay writer Gaghan, who based his script on a book by a former CIA operative, a jew named Baer. Set up, reinforcement; standard jew media prep. Clooney plays an old Middle East hand. He speaks Farsi and Arabic.

Jew ploy. It is said life imitates art. True, and art imitates life. By this cycle the jew world power is setting up Iran for invasion by ZOG forces, by trying to convince the intelligent ten percent of the electorate Iran is part of the terrorism stream. In Beirut Clooney sells hand rockets to somebody, some group, but this group turns out not to be whom he thought, but Iranian agents. Muy malo, compadres. What will those nasty Iranians do with the rockets? Time now to amp the diversion. Clooney is recalled to Langley, he's getting hot. But "he'll never make a desk man," so back out he will go. Anyway, Clooney knows too much and won't survive in the D.C. shark tank. His boss puts him on hold for a few weeks. He has a punk son at Princeton, and what's wrong with the University of Maryland? The kid sniffs and leaves. Clooney comes back, we assume, ready for new risks, for hostile-fire pay. He needs the money.

But I got ahead of myself. I dislike mere chronological narrative, but I must take ye back. "Syriana" opens with the Beirut rocket transfer scene, a small explosion, Clooney getting away. The next scene is Georgetown, and jew Christopher Plummer trimming his roses. He is an oil lobbyist. The Chinese have just clinched a deal from the Saudis, and where did we go wrong? His top bloodhound is a nigger -- an erudite-looking one, not a Shaft type -- and producer jew Weil and goyboy Gaghan inject niggers here and there to remind us white folks we can't go it alone. Plummer instructs his house nigger to get something done. It is unclear what he is to do, and also who he works for, besides jew Plummer. He is everywhere, has access to everybody. Throughout the film this nigger is a sober Voice of Reason, telling senators, lobbyists and the spectrum of bottom feeders in D.C. that "this is wrong" and "this is not good for the people," etc. Every Euro politician is Nordic-looking, amoral. Later one of the players is being interrogated by a Congressional panel, one of whom is an obstreperous groidess, who forgot her people didn't have the wheel until Euros showed up in Darkieland. She is meant to be righteous, but you still want to put a blast of 4-buck in this nigger's face.

Thus the tone is set quickly: white oil monsters, amoral CIA, good soldier (Clooney) who feels the ice melting under him. Meantime, the Oil People decide to take out the Saudi prince who gave the contract to the Chinese instead of the Texans. Blind eye from Langley, of course, and Clooney is to be their tool. Later, Matt Damon, a sharp financial analyst, comes by a personal tragedy to be hired as advisor by this prince. Diversion, thickener: this prince is intelligent, clean, wants to reform Saudi Arabia. He's a positive character; you'll like him. Unfortunately his older playboy brother is to inherit the throne. Still, he must pay. CIA, DIA, someone decides to neutralize this guy -- orders from the Oil People. Clooney is sent back to Beirut, where he hires a merc ("Bob"), a repulsive semite, jewish-american in manner, to assassinate this prince.

Treachers: "Bob" turns out to be the notorious terrorist "Masawi" (=Zarqawi), and has Clooney abducted from his hotel room. The fight scene is credible; the torture scene very much so. Clooney is rolled in a rug and taken somewhere. He is duct-taped to a chair and Bob/Masawi tortures him. It seems damn real and you will recoil. CIA extracts Clooney, who recovers at Walter Reed -- and discovers that his access to CIA databases has been blocked. Stereotype diversion: the CIA betrays another one of its own. The decision maker is Clooney's boss, a top cunt at Langley (blonde, of course), another marker to remind white men that they're flying co-pilot now.

But someone (unclear who), it turns out, was murdered back in Beirut during Clooney's op and now it is a law enforcement thing and the FBI comes to Clooney's room at Reed and takes his passports. Two football-looking FBI types. Treacherous, fascist white men. The System. The triangle of the System is thus established and presented to the audience: corrupt WASP CIA/FBI/Congress; the oil hyenas; muslims.

Later, Clooney learns that jew Plummer, the oil agent, sicced the FBI on him. Throughout the film the nigger lieutenant is briefing senators, the amoral Texans, everybody. The roles were often unclear to me but the film works. The convergence towards closure is not predictable. The renegade prince is taken out with a standoff missile. Clooney, after receiving counsel from his old friend, old hand William Hurt, goes back to Lebanon on personal business. He goes to warn this good prince that the ZOG is going after him. Clooney dies in the standoff blast along with the prince and the prince's family. Damon is wounded and returns to his wife in the states. The rocket Clooney introduced into the terrorist pipeline winds up on the bow of a fishing smack in a Gulf port, which rams an LNG tanker. The screen goes white, as it would in the real case. The credits roll.

I should say "Syriana" is required viewing. It is propaganda at a new level, or at least a new one to me. It is the proper combination of verité and erudition. You will get a sense of the complexity of the Middle East: the volatility the burning-fuse quality of it all with Islam, American gluttony, runaway Capitalism, the jewish problem, the fight for identity, the Chinese wildcard, Iran. It is all too much. "Syriana" will make your skin crawl. It is propaganda, but more, it is successful art. And above all it forces you to feel the urgency of dealing with the jews, because, brothers, Hitler was right: if these people gain dominion, the Earth will become once again a sterile ball of rock as it was in the beginning.


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