Is Ridley Scott’s ‘Alien’ a Jewish Film?

Is Ridley Scott’s ‘Alien’ a Jewish Film?

Ridley Scott’s classic 1979 film ‘Alien’ has lately gotten the ‘The Secret Jewish History of…’ work-up from the ‘Jewish Daily Forward’ and as I am in the habit of exposing this as being the garbage that they are. I figured I would do the same to this take on the iconic film that just celebrated its fortieth birthday on 25th May this year.

The author of this ‘The Secret Jewish History of…’ is one Nathan Abrams rather than the normal personage of Jenny Singer. Abram’s case concerning ‘Alien’ being a ‘jewish-inspired film’ is vapid to say the least. Aside from predicable jewish involvement in its concept and production – this is Hollywood after all - Abrams claims that:

‘The film’s suspicion of multinational global corporations – here it is ominously labelled simply as “The Company” – follows in the wake of Alan J. Pakula’s conspiracy films of the 1970s, particularly “Klute” (1971), “The Parallax View” (1974) and “All the President’s Men” (1976).’ (1)

This isn’t an argument as film producers are notoriously anti-capitalist in political orientation and even more so than usual during the height of the leftist political insurgency in the West during the 1960s and 1970s. Just because ‘Alien’ – much like James Cameron's 2009 ‘Avatar’ and Steven Spielberg’s 2018 ‘Ready Player One’ – is suspicious of the priorities and motivation of multinational global corporations then it doesn’t make it any more or any less jewish.

It just makes it typical Hollywood fare in general.

Abrams continues:

‘Significantly, there are seven human members of the crew – a number rich in Jewish significance. If we add the eighth member – Jonesey the cat – it makes eight, a number similarly symbolic.’ (2)

Right so are the numbers seven and eight exclusively ‘jewish’ now according to Abrams or what?

There is one word for this claim: bullshit.

He then continues by writing that:

‘One might also consider the alien lifeform itself as an embodiment of the Jewish condition. Alone, wandering in space, it is as Ash calls it, a “survivor.” The organic-machine combination gives it an androgynous quality (it is a female entity but played by a male actor, Bolaji Badejo), again something which has been leveled historically at Jewish men in particular. Technically known as a Xenomorph, its ability to blend into the surroundings of the spaceship suggest a gift for mimicry – a hallmark of the Jewish condition — echoing that of the Transformers.’ (3)

Right so if we follow Abrams’ logic here; jews are inherently alien lifeforms that mimic their surroundings to camouflage themselves against their predators so that they can strike back and/or escape when their predators aren’t looking.

If I had written that I’d be called an ‘irrational anti-Semite’ by jews like Abrams, but it is good to see that Abrams believes that ‘Der Ewige Jude’ is an accurate portrayal of his people.

Abrams continues by stating that:

‘The very name of the film also suggests how Jewish immigrants have been perceived in Europe and the United States as reflected in the             anti-immigrant legislation in Britain specifically designed to curb a Jewish “invasion,” The Aliens Act of 1905.’ (4)

So once again Abrams is basically styling his own people as alien lifeforms invading European countries and taking them over by mimicking their inhabitants. If I am not much mistaken, then ‘Alien’ is not a jewish film but rather an modern anti-Semitic classic.

He then confirms this by stating that:

‘Finally, the alien is a relentless, remorseless exterminating machine. All biological organisms are its potential victims. In the prequel “Prometheus,” a crew member describes a pile of corpses he has stumbled upon as             resembling a “Holocaust picture.” Thus, it has even been asked, “Can we say that behind those murderous vagina dentata of “Alien,” these atrocities of the twentieth century lurk?’’ (5)

So basically ‘Alien’ (and Abrams) styles the jews as ‘a relentless, remorseless exterminating machine’ of which ‘all biological organisms are its potential victims’ and who will create ‘piles of corpses’.

Given that this is essentially what jews believe in that jews believe they are a chosen people created by the creator of the universe with a special destiny and role in mind, (6) are a biological not a faith-based group separate to non-jews, (7) believe they are biologically superior to non-jews, (8) have a hive mentality, (9) mimic non-jews and their religious beliefs in order to infiltrate non-jewish societies (10) (including deliberately lying to them), (11) view non-jews as an existential threat (12) and advocate (and have historically carried out) the extermination of non-jewish groups (13) who they regard as being akin to animals. (14)

So in other words Ridley Scott’s ‘Alien’ is an anti-Semitic classic and has received the warm endorsement of the ‘Jewish Daily Forward’s’ Nathan Abrams for its negative portrayal of the jewish people.

References

(1) https://forward.com/culture/424322/the-secret-jewish-history-of-alien/

(2) Ibid.

(3) Ibid.

(4) Ibid.

(5) Ibid.

(6) A Cohen, 1937, ‘Jewish Homiletics’, 1st Edition, M. L. Cailingold: London, pp. 68; 78-79; Sholem Asch, 1945, ‘One Destiny: An Epistle to the Christians’, 1st Edition, G. P. Putnam’s Sons: New York, p. 20; Dennis Prager, Joseph Telushkin, 1981, ‘The Nine Questions People Ask About Judaism’, 2nd Edition, Simon and Schuster: New York, p. 28; Hayyim Schauss, 1950, ‘The Lifetime of a Jew: Throughout the Ages of Jewish History’, 1st Edition, Union of American Hebrew Congregations: New York, pp. 5-6

(7) Eugene Borowitz, 2006, ‘The Talmud’s Theological Language-Game: A Philosophical Discourse Analysis’, 1st Edition, State University of New York Press: Albany, p. 131; Moshe Davis, 1978, ‘I am a Jew’, 1st Edition, Mowbrays: London, pp. 3; 61 ; Ephraim Levine, 1955, ‘The Jewish Heritage’, p. xxiv in Ephraim Levine (Ed.), 1955, ‘The Jewish Heritage: A Symposium’, 1st Edition, Vallentine, Mitchell & Co.: London; Barnet Litvinoff, 1969, ‘A Peculiar People: Inside the Jewish World Today’, 1st Edition, Weidenfeld and Nicolson: London, p. 5; Herman Wouk, 1988, ‘This Is My God: The Jewish Way of Life’, 4th Edition, Little, Brown & Company: Boston, p. 147

(8) Wouk, Op. Cit., p. 147; Edmond Fleg, 1943, [1927], ‘Why I Am A Jew’, 1st Edition, Victor Gollancz: London, p. 27; Josef Kastein, n.d. (1939?), ‘Jews in Germany’, 1st Edition, The Cresset Press: London, p. 22; David Mocatta, 1973, ‘The Jews of Spain and Portugal and the Inquisition’, 1st Edition, Cooper Square: New York, p. 88

(9) Davis, Op. Cit., p. 132; Joseph Hertz, 1926, ‘A Book of Jewish Thoughts: Selected and Arranged by the Chief Rabbi’, 1st Edition, Oxford University Press: London, p. 6; Solomon Grayzel, 1960, ‘A History of the Contemporary Jews from 1900 to the Present’, 1st Edition, The Jewish Publication Society of America: Philadelphia, pp. 10-11

(10) Cohen, Op. Cit., p. 118; Litvinoff, Op. Cit., p. 19; Norman Bentwich, 1938, ‘Solomon Schechter: A Biography’, 1st Edition, The Jewish Publication Society of America: Philadelphia, p. 6

(11) Davis, Op. Cit., p. 71

(12) Schauss, Op. Cit., p. 229

(13) W. Addis, 1906, ‘Hebrew Religion: To the Establishment of Judaism under Ezra’, 1st Editions, Williams & Norgate: London, pp. 6; 131; 153; 223; Albert Polack, 1955, ‘Jewish Values in the Modern World’, p. 79 in Ephraim, Op. Cit.

(14) David Daiches, 1974, ‘Two Worlds: An Edinburgh Jewish Childhood’, 2nd Edition, Sussex University Press: London, p. 24