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Argo Wins Oscar For Best War Propaganda

February 24, 2013

As we predicted, 'Argo', produced by George Clooney and directed by Ben Affleck, was a guaranteed winner at this year's Oscars. Why?

* Because it makes Hollywood the movie's hero

* Because it glamorizes the CIA

* Because it's anti-muslim

* Because it's a propaganda vehicle for justifying and inciting a US/Israel war with Iran.

Films like Argo that portray stereotypes about Iranians are dangerous - especially when the US and Israel are on the brink of invading Iran.

Argo depicts Iranian men and women as little more than crazed lunatics who react as a crazed lynch mob, blinded by religious zealoutry and cult worship of Ayatollah Khomeini.

While American public opinion is resolutely against war with Iran, Zionist Hollywood makes movies like Argo as a vehicle to turn public opinion from anti-Iran war to pro-Iran war.



Argo distorts the historical American hostage event into a cheesy propaganda thriller. The film was released in late 2012, prior to the US presidential election, and in the midst of an all-out propaganda campaign to demonize Iran and take America to war against that long-victimized country. An ongoing dirty war of sabotage and assassination has been waged against Iran for quite some time now by NATO assets and by Israel's Mossad, with probably ample support from the Gulf royal mafia.

Argo adds fuel and flames to an engineered and growing crisis. This film, under the guise of a thriller serves to exacerbate anti-Iranian feeling in America and as a bonus, it gives the sinister CIA a cuddly wink of approval.  Which is exactly what you’d expect from nincompoop sell-out liberals like Affleck and Clooney.


When the reporter asked Ben Affleck about Hollywood actors working as CIA operatives, during an interview to promote the movie "Argos", he almost jumps over the chair, visibly uncomfortable and says,

"I think there are probably quite a few, yes. I think probably Hollywood is full of CIA agents and we just don't know it. And I wouldn't be surprised at all to discover that this was extremely common."

Then after embarrassed laughs, she asks again "Are you CIA?" and he uses a reverse psychology answer, "I am yes, and now you've blown my cover, so there goes my career, so I hope the directing thing better work out."


Affleck and Clooney are insulated, privileged big Hollywood celebs whose political obtuseness, artistic vanity, or worse—their witting complicity with the forces that are bringing our battered planet to a tragic end—should not be rewarded.

What kind of self-indulgent $$$$ blindness caused Affleck and Clooney to ignore the harmful social and political repercussions of their work? Argo isn't about hunger or gay rights violations, which, as card-carrying centrist liberals, both have agitated against. They are serving as clueless handmaidens to US foreign policy, especially when they clamor for intervention for “humanitarian reasons” in Libya, Syria and Darfur which is the latest Hollywood fad which provides a cover for Washington’s criminal agenda in those regions. 


“Argo Fuck Yourself” is a comedic line used in the film by actors Arkin and Goodman...but after digesting the film’s propaganda message, 'awake' critics of the film are using that same line to express their opinion of the movie.

Argo is a dangerous movie because it fuels the probability of a horrendous war in the Gulf and it glorifies the Western intelligence agencies that are behind it.

The final on-screen text relating the characters’ eventual fate hails the US-Canadian cooperation in the operation as a model of “cooperation” among the family of nations. This is rather like praising Exxon or Shell for advances in managing oil-spills!

What were the American functionaries who were being recued doing in Iran? They were facilitating US diplomatic support for the brutal Iranian dictator!!

Moreover, America’s re-installation of the Shah in 1953, and its refusal to take any steps to bring him to justice were serious affronts to the very concepts of global justice and international cooperation that the film claims it wholeheartedly served. Praise for US-Canadian cooperation is an ironic measure of Affleck’s blindness to the tyrany of American power.

To wrap up the political agenda, the movie ends with Ben Affleck’s Tony Mendez returning home to reunite with his family as a hero, a father, and a husband. If you’re going to make a 2012 election year propaganda film, you’ve got to have your family values! Then finally, we get the reassuring “stamp of authenticity” as the film pairs photos of the real diplomats with the actors who played them while Jimmy Carter assures us that there can be peaceful resolutions to international crisis (even if a few thousand people die along the way, ahem). But the movie never talks about those people – all the ones (Iranian and American) who actually did die just because we felt like we needed to clean-up the world’s dirty laundry (so we could keep our American dirty hands in the oil supply).


Virtually every Iranian character in Argo is either a victim of the new regime -- sent into exile or strung up to die, or somehow complicit in the revolution as a gunman or a psychotic rioter.
Mehdi Tondro, a self-described “specialist in anti-Iranian and anti-Islamic films,” fumed over scenes of angry Iranians storming the gates of the American Embassy in Tehran in 1979.

“We Iranians look stupid, backward and simple-minded in this movie,” Mr. Tondro said. “Hollywood is not a normal industry; it’s a conspiracy by capitalism and Zionism. We need to come up with an answer to this and other films.”

Nader Talebzadeh, an Iranian-American filmmaker who hosts a popular television show on state television said it was clear that “Argo” was part of a larger plan by the American entertainment industry to remind a younger generation of the 1979 Iranian hostage crisis. “It’s the only example of aggression they have against Iran,” he said. “ ‘Argo’ just tears open the wounds in order to prepare the minds. This movie is no coincidence. Timing matters.”

Context matters. In 1979, as the movie seems to admit, the Iranian public overthrew a US-backed dictatorship in order to liberate itself from the yoke of oppression -- and in the process, obvious abuses took place, like in virtually every revolution demanding a transition in government.

Although there are still obvious, documented abuses in Iran, that nation is no longer holding hundreds of Americans hostage. Indeed, it has thus far fought in only a single war -- the Iran-Iraq War of 1980, at the instigation of the United States. Virtually every accusation made against Iran by the United States and Israel has been backwards: accusations such as threatening to "wipe" a country "off the map," the possession of nuclear stockpiles, armed aggression, and funding of terrorists, are all crimes that the US and Israel are or have committed -- not Iran.

Obama, at the behest of the Israel and its American supporters, is threatening Iran with potential war and has set up "crippling sanctions" which have caused a widespread humanitarian crisis on the Iranian public.

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