"My name is Daniel Pearl. I am a Jewish American from Encino, California. My father is Jewish. My mother is Jewish. I am Jewish." - Daniel Pearl, February 2002 moments before he was beheaded by terrorists in Karachi, Pakistan.
Identification is the first step to Genocide.
Also, identification serves to underscore the "Us" versus "Them" theme, that Drive urges upon the viewer. The "Them" is of course the Jew. FilmDistrict explicitly identified only the Jews on their website. Of course, the descriptions below make a subtle, yet unmistakable connection between the Jewish religion, and criminality. In addition, Bernie Rose is identified as a Jew by many implicit references, including his name, the way he looks, the actor that portrays him, the way he acts, his dress, the way he speaks, and so on. All of these identifying traits are negative and hateful.
Below is Bernie's Jewish identification created by FilmDistrict.
See www.drive-movie.com, skip the trailer, and any other introductory pages, and go to "Cast" in the upper right menu. Note the connection between Judaism and criminality for both Nino, and Bernie. The other characters in the movie were not identified by religion, only the Jews.
Here is Nino/Izzy's Jewish identification created by FilmDistrict.
See www.drive-movie.com, skip the trailer, and any other introductory pages, and go to "Cast" in the upper right menu. Note: In the book Drive, Nino is Italian. Of course, the Jewish issue can either be played up, or played down. For example, All Good Things is based on the alleged Jewish murderer Robert Durst, yet the movie is not a hate film about Jews and Judaism, as Drive is. Unlike Drive, you won't find any mention of religion on the web site
“The crimes with which the Jews have been charged in the course of history—crimes which were used to justify the atrocities perpetrated against them—have changed in rapid succession. They were supposed to have poisoned wells. They were said to have murdered children for ritual purposes. They were falsely charged with a systematic attempt at the economic domination and exploitation of all mankind. Pseudo-scientific books were written to brand them an inferior, dangerous race. They were reputed to foment wars and revolutions for their own selfish purposes. They were presented at once as dangerous innovators and as enemies of true progress. They were charged with falsifying the culture of nations by penetrating the national life under the guise of becoming assimilated. In the same breath they were accused of being so inflexible that it was impossible for them to fit into any society.” - Albert Einstein in Collier’s Magazine, November 1938, immediately following Kristallnacht, the “night of broken glass.”
"Jud Suss shows the Jew as he really is, and I would be more than happy to wring the neck of the first Jew I encounter." - German factory worker circa 1940
Just a nice, odd little flick but as the second half unspooled, to my amazement, kike villains! The real deal, made my ears go up.Albert Brooks is probably the jewiest of all jews ever in a movie. And when he takes a fork and... Wait, you gotta see that. He's utter trash and maybe not even acting. Forget the blood in this sequence, it's just jews being jewish.The face-off is climactic, but all muted; still I liked the White Man taking out the jewtrash with style. And his sense of honor is first-rate, saving the White Girl, but not taking the place of her beaner husband. (You'll just have to take my word.)No idea how this came off on the big screen. Sure worked for me. Yes, the movie is slow and takes a long time getting to it. Older guys like me really aren't part of this movie's demograpic, but fu.. it. The kike showdown was just what I needed, and maybe I'm not alone. Big, white thumb all the way UP! - Nazi poster VNN
Is there any group that has been victimized by so many negative stereotypes as the Jewish people? In fact, so many negative stereotypes are heaped upon the Jews, that many contradict each other. The creators of Drive leveraged the Jewish stereotypes by reinforcing them throughout the movie, using the techniques nueromarketers use. That is, they used embedded subliminal, and on occasion subliminal that is flashed very quickly, combined with emotional content, to get the viewer to hate Jews and either commit criminal violence against them, or to accept such criminal violence by others against the Jews. Drive created a "brand Jew": everything negative.
Drive employs virtually every Nazi anti-Semitic stereotype piled onto the Jews in Drive. These stereotypes take any positive aspect of the Jewish culture or religion, and turns that positive attribute into something evil. In addition, Nazi anti-Semitic stereotypes, evident in Drive, deem the Jew to be lustful, greedy, money hungry, corrupting, physically grotesque, and self indulgent.
The book Drive had no anti-Semitism. So why was it changed ? We never see the Jews in any normal, human social context in Drive. Unlike the other characters, they have no friends, family, humor, or other redeeming human values. The Jews are seen conspiring, harming, and taking advantage of the Gentiles for their personal gain, first and foremost of course, money.
Below is just a small sample.
1.The Jew uses his shrewdness, (never described as wisdom or intelligence) to take advantage of the Gentile.
In Drive, here is one way that false stereotype is manifest. Keep in mind the message is very subtle, and contains subliminal elements, which only adds to its effectiveness. Shannon asks "Mr. Rose", his "friend", to be his partner in exchange for an investment. Shannon asks for $430,000.00 for presumably fifty percent. The shark, Rose, demands 70% of the business, but only invests 70% of what Shannon needed. This would have forced Shannon to sell his remaining shares to get the original money the business needed, leaving Shannon with nothing. The numbers were chosen to make this point.
This also re-enforces the Nazi anti-Semitic propaganda that in the Jew's mind, his investment was not his contribution to a partnership as Shannon intended, but a clever way of swindling virtually all of the business solely for the Jew. Rose will also not extend his "dirty hand" to shake Shannon's outstretched hand. However, Rose later shakes Shannon's hand in order to murder him, completing the cycle of Rose swindling, and then murdering Shannon, in addition to Nino the Kike, having Shannon's pelvis broken.
The fact that the murder uses a subliminal Jewish star, and subliminally, or subtly employs all of the Kosher slaughter rituals, reinforces the Nazi anti-Semitic stereotype that Jews use their evil cleverness to screw the Gentile, and use their religious rituals for torture and sadism. The fact that finally the Jew offers to shake the Gentile's hand before he murders him, "gently" reminds us that the earlier swindling was just part of the total abuse of this Gentile, and even a simple handshake had an evil selfish intent behind it.
The classic anti-Semitic "shark theme" is used throughout the movie. Lawyer sharks, business sharks, and loan sharks to name a few. The long "nose" of the shark ties in nicely. A Danish newspaper, Jyllands-Posten, justified the 1938 mass pogrom and mass lynching of Jews in Germany as "the result of the Jewish business sharks."
Danish Newspaper Jyllands-Posten commented in 1938: "When one has studied the Jewish question in Europe for decades, the animosity towards the Jews is to a certain extent understandable, even if we look past the racial theories, that mean so much in the national socialist world view [...] We know, that tens of thousands of Jews condemn the Jewish business sharks, the Jewish pornography speculators and the Jewish terrorists. But still, it can not be denied, that the experiences which the Germans - as many other continental peoples - have had with regards to the Jews, form a certain basis for their persecution. One must give Germany, that they have a right to dispose of their Jews."
It is a common stereotype that the Jew is associated with the pawn shop industry. Drive exploits this stereotype by having the Jew conspire with the pawn shop to murder the likable father Standard, during a dummy robbery, so that the Jew can steal from the "East Coast Family". The shark theme, referring to the Jews, is used throughout the movie. Nino, the masked Jew, pretending to be an Italian, was extorting Standard by charging exorbitant protection money while Standard was in prison, another aspect of the Jew as Shark. The theme that the Nazi anti-Semitic propaganda film Drive promotes, the Jew as loan shark, is one of the major themes of Jud Suss. Duke Karl Alexander has to borrow from Jud Suss. That small loan enables the Jew to virtually control the Dukedom of Wurttenberg, and the Jew causes devastating taxes, inflation, and misery.
From Jud Suss:
1a. The Sound of Hate.
The creators of Drive leveraged all of their combined skills to produce a highly refined message of hate. In the clip below, notice at the 1:45 mark how an ominous sound begins to be heard. This sound is intended to belie the apparent sympathy Bernie Rose is feigning for Shannon. Rose is actually issuing a veiled threat. Also notice throughout the clip, how the camera unnaturally focuses on Rose's gold watch and gold pinkie ring, emphasizing the connection between Jews and money/materiality/gold.
2.The Jew is a threat to the Gentile wife and also the children.
First the Jew Nino charges usurious protection money to the Palestinian actor, playing an Hispanic, likable father named Standard, trying to turn his life around. The protection money charged by the Jew was for when Standard was in prison and keeps going up exponentially.
Then the evil Jew has the likable father beaten up in front of his son, because the father will not go back to a life of crime and commit a robbery for the evil Jew. Then the evil Jew threatens to kill Standard's adorable son, and lovable Aryan looking wife Irene if Standard won't commit the crime, in exchange for cancelling the debt (in the book Drive Irene is Hispanic).
Unbeknownst to Standard, the evil Jew has arranged for Standard to be murdered during the robbery, and sure enough, Standard is murdered. Could any more hateful evil be impugned to the Jew? Yet much of this was accomplished subtly and subliminally.
Irene is transformed from an Hispanic in the book, to Aryan or Nordic in the movie, because the Aryans and Hitler were only "responding" to the "Jewish threat". The actor for Standard was chosen because he looks Palestinian, to subliminally make the association that Jews abuse the Palestinians, and when Standard complains that the protection money keeps going up, we don't consciously make the connection between that and the Jews, including Nino, behind the scenes pulling the strings and "shystering" poor helpless Standard.
It only fully consciously comes together, if at all, towards the end of the movie, and after. A brilliant, "Madison Avenue" way to present these messages of hate.
From Drive, the evil Jews that control things "behind the scenes", have sent some bad men to beat up the father trying to turn his life around, and threaten the Aryan wife, and adorable child.
From Jud Suss: Note: Just one of the many subliminal messages in this clip. Suss wants the house left divided (another metaphor - Jew creates a divided house) for one year as an "example". The real Jud Suss was left hanging from an iron cage, suspended high above the city of Stuttgart, for over a year as "an example"
3. The Jew dies like a coward.
The Nazi anti-Semitic propaganda film Jud Suss was not the only version of the film. There was a philo-Semitic British version in 1934. In the British version, and in the book by Lion Feuchtwanger that Jud Suss was based on, Suss the Jew is offered conversion to Christianity, in order not to be hanged. Suss refuses to convert, thereby dying a proud Jew.
Joseph Goebbels, Hitler's minister of propaganda, insisted that the Nazi version of Jud Suss show the Jew degraded, begging for his life, and pathetic. This in contrast to the blacksmith Hans Bogner, that was unjustly hanged in the Nazi version, because he offended the Jew. Bogner goes to the gallows stoically.
In the book Drive, Nino was not even Jewish, and was shot on his porch and died. If the movie Drive was not obsessed with the Nazi theme of degrading the dying Jew, Nino would have fought back of course, with the gun that gangsters presumably carry. Especially after Nino's "goldsuit" Jew had his face stomped in.
The Jew in one scene transition, has gone from noble clean shaven "Gentile looking" Court Jew, to the bearded Ghetto Jew. From Jud Suss. The pleas that I was "just following orders" presages the Nazi excuses at Nuremberg.
4. The Jew is corrupting.
Drive, like most Nazi anti-Semitic propaganda, proscribes the contamination of the pure Aryan race, with impure Jewish blood. Nazi anti-Semitic propaganda, like Drive, promotes the theme of the Jew corrupting the mores of society, especially Gentile women. The same naked gentile women that Nino the "masked" Jew controls in the dressing room scene, appear in this scene at Nino's.
The Jew is hitting on the Gentile woman who is repulsed, in both images below. The skinhead that is stalking the Jew, is watching this (lower image). There is a charity box next to the cash register that is empty. Did the Jew steal the money, or do they just not give to Charity ?"
5. The Jews stick together.
To promote this Nazi anti-Semitic stereotype, as well as the other Nazi stereotypes, it was necessary to change the book Drive. There, Nino is Italian, and Rose breaks off their life-long friendship due to Nino's murders. In the movie, the evil Nino is a Jew in disguise, and Rose of course sticks with him, because that is required of Nazi anti-Semitic propaganda. Notice another message in this image: The Jews control the world (they are holding crowns).
6. The Jew kills and murders sadistically, as mandated by Judaism.
Kosher slaughter requires using a straight edge blade, which is washed and then put in a special case after it is used. It is performed by severing a major artery. The movie Drive emphasizes the Jewish ritual nature of the murder of a human being, thereby defaming Judaism, and perpetuating the "blood libel".
Joseph Goebbells insisted that Veit Harlan include Kosher slaughter in Jud Suss. Harlan resisted, and prevailed, according to some sources. If this is true, it would have been one of the few times anyone said no to the mass murderer Goebbells, including murdering his own children. The more obvious Nazi anti-Semitic propaganda film,The Eternal Jew, made Kosher slaughter the centerpiece of their campaign to promote and justify criminal violence against innocent Jewish civilians, like Drive. The scenes of Kosher slaughter below were staged by the Nazis. Below from The Eternal Jew. Compare the severed windpipe in the pic below, with the subliminal windpipe formed by Shannon's glasses, as he is being murdered by Rose.
Below is a subliminal animal head and a large Kosher slaughter knife in the window of the car. The light draws the eye to the image, but it is not consciously perceived. This shows the effort to defame the Jewish religion, and is especially germaine given the fact that Europe is currently engaged in a debate to outlaw Kosher slaughter.
Here is the knife and the animal head outlined.
The Eternal Jew:
The director Refn comments on the Kosher slaughter accusation.
7. The Jew controls everything behind the scenes.
8. The Jew is totally evil.
Many people ask why is Drive's portrayal of the Jews any worse than a typical Mafia or Italian Gangster film ? The answer is simple. Almost always the Mafia family portrayed are the good bad guys. We typically root for them. Also, Hollywood is careful to have a good member of a minority offset the bad ones. In addition, even the bad members of a depicted minority typically have some redeeming, human attributes. Not so for the Jews in Drive.
In fact, in some ways, Suss Oppenheimer of the eponymous Jud Suss, is a more likeable character than either of the Jews in Drive. Oppenheimer genuinely cares about his fellow Jews. Notice in Jud Suss, the Jew has an "other worldly" quality. His eyes and mannerisms indicate that there is always an evil hidden agenda. In many ways, Suss is the tempting Devil himself. To do business with Suss, is to sell your soul to the Devil.
Notice in Drive, the Driver is trembling, terrified of the obviously demonic Jew, replete with "horns".
9. The Jew as Kike.
The false Nazi anti-Semitic stereotype, aped by Drive, that Jews are money hungry, is just part of the more general lie that Jews are self absorbed, self obsessed. It is remarkable that Drive and Jud Suss have very similar scenes, where the Gentile implores the Jew for help, while the Jew is focused on his eating, dressed differently, and ultimately takes advantage of the Gentile. Note: In the full scene, Rose is whining and complaining about the absent chopsticks, and fortune cookie, Shannon smoking, and prior to the start of the video below, Rose gave Shannon the middle finger. In addition, Rose does not offer Shannon any food, and does not object to his so called friend calling him "Mr. Rose", instead of by his first name, as friends do. Also, the camera focuses on Rose's gold pinky ring, and gold watch, in a very deliberate and obvious way.
All of the above contribute to the subtle, yet incessant theme of Drive: That the Jew is not one of 'Us", and that while "We" work hard, the Jew is sitting on his ass, making money off of our labor. From Drive:
In the clip below, Rose seems to have lost his "tough guy" accent, apparent in the clip above, when Rose says: "So are mine". But then again, Jew hatred doesn't have to make sense.
10.The Jew tries to hide his identity.
The Nazi's plan to murder every Jew, for the crime of being born Jewish, with the full faith and credit of the German Government behind this Genocide, especially the courts and the Judges1, had to identify the Jew. For the Nazis, and the creators of the film Drive, warning the volk (people) that your friend or neighbor could really be a Jew in disguise, was essential. Most of the Jews appearing in The Eternal Jew, were murdered shortly after they were filmed. To effectuate this Nazi stereotype, the Iranian screenwriter had Nino the Italian in the book, become Nino the Jew in the movie, pretending to be Italian.
The thumbnail above is from Drive. It is part of the theme in Drive about masks, and if you read the billboard across, it says "Goodwill Halloween Nino's".
11. The Jews Murdered Jesus.
Drive's shameful attempt to incite criminal violence against Jews, employs the tried and true Blood libel, responsible, at least in part, for the murder of one of every two Jews born in the last millennium2. The subliminal JC is highlighted, and of course the dead Jew in the crucified position, with the blood of Jesus on his hand, next to his God: Money. Refn the Director displays an affinity for the unique perspective of Dr. Josef Goebbells. The cynical use of the well known and effective technique called priming, is evident in the perverse use of the "JC", evident below. The "J" seems to be composed of a nail. In this context, the "JC", acts a subliminal prime, to associate the Jews with the murder of Jesus.
Below is a closeup of the Jew's bloody hand, with Hebrew like letters on the knuckles. Compare the Jew's hand with Driver's bloody hand. There is no pattern there. Also, the camera scrolls down to the Jew's bloody hand, and with everything in context, including the "JC", the crucified position of the Jew, with the left side wounds, the Jesus nature of Driver, and the fact that the Jew stabbed Driver with his right hand, it is clear that this is a reference to the Jews having the blood of Jesus on their hands.
Here is an example of how the Nazis used Jesus to incite criminal violence and genocide against Jews. The picture below is from Julius Streicher, Gaultier, and publisher of Der Sturmer. He was hanged for war crimes because of his Nazi anti-Semitic propaganda. The caption, from Streicher's children's book, "The Poisonous Mushroom", translates as : "Jesus taught us that when we see a cross, we are to remember what the murderous Jews did to Jesus on Calvary Hill".
12. The Jew is physically grotesque.
Like the Nazis, the creators of Drive, drove home the false stereotype of the physically repulsive, grotesque, hideous Jew. They wanted to make one Jew look like Hell itself: Nino the Jew below:
Of course, virtually all Nazi style anti-Semitic propaganda depicts the Jew in a physically negative way. The physically repugnant Jew in Jud Suss was primarily depicted by the actor Werner Krauss. Here is Nazi propoganda that conveys the false Nazi anti-Semitic stereotype that Jews are physically grotesque, and that Jewish women are sluts.
13. The Jew is money hungry.
There is a constant association throughout the film, between Jews and money/gold/materiality. The camera conveys the message that the Jew is not a person, but a manifestation of some sought after material item: A watch, a ring, money, gold, etc... This is done by focusing on the Jew's Jewelry, or bathing the Jew in the color Gold, as seen below so that the Jew and the car are literally one piece of gold. This picture is was rendered using the blu-ray disc, at 32 bit pixels, in the best rendering quality using Sony Vegas 12 pro. It is close to what was shown on the screen. The same garage door was an off green in an earlier scene.
Notice in an earlier scene, the car and background door were a greenish blue.
14. The Jew is unclean physically and spiritually.
This Nazi ant-Semitic stereotype is highlighted by the murder of both Jews using a perverse form of "Baptism". The Jew Bernie Rose is sent through the water painting to be cleansed. The other Jew is murdered by "Baptism"
The religious significance of the water painting can be further understood by the alter-like table beneath it, and of course, by the context of the scene.
The Nazis of course, also portrayed the Jew as unclean, both spiritually and physically, with blood unfit for mixing with the Christians. Nazi style Jewish uncleanliness below:
- 1. See for example, "Lawyers Without Rights" http://www.schildhaus.com/downloads/Brosch%C3%BCreLWR_USA.pdf
- 2. Edward H. Flannery, The Anguish of the Jews, rev. and updated ( New York: Paulist Press, 1985), 349 n. 1; Borowsky, Irving J., Foreword, Overcoming Fear between Jews and Christians, American Interfaith Institute, xii.