Only the Nazis in Hollywood can produce a movie about Harriet Tubman, using a dark skinned white woman director (Kasi Lemons), and still manage to make the African man the villain. It’s magic. It is witchcraft.

This Black man kills Black slaves for money to buy a bite of white whores. At the climax of the film, this Black man caricature nearly kills Harriet but for the white man who saves Harriet from the Black man.

Where do the Nazis of Hollywood actually pull out this stuff? It is witchcraft man. It is the most apogenous, bovaristic, coprolalial, excerebrose, facinorous, gnathonic, hircine, ithyphallic, jumentous, kyphotic, oligophrenal, papuliferous, quisquilian, rebarbative, saponacious, ventripotent, xylocephalous form of gross inhumanity to the memory of Harriet Tubman.

All that means is this: The Devil is always trying to convince the people that he doesn’t exist. That is his stagecraft. That is the Devil’s witchcraft: The only trick he knows how to pull is to attempt to convince people that he does not exist. In Hollywood’s version of Harriet Tubman, the Devil hides, and the Angels are painted evil. It smacks of the reluctance of the Nazis of Hollywood, and those ones far beyond its walls, as in the Democrat Party and the Republican Racist Company, to stick to simple truths.

The United States of America is hounded by the wicked bovaristic imaginations, intentions and proclivities of a group of people who are unwilling to accept responsibility and face simple truths. There can be no reconciliation in the US because at its core, the nation is what it has always been: Anti-Black.

How would it look and sound if Africans everywhere wrote and made films about Jewish involvement in the Holocaust? If a movie showed a Jewish man helping other Germans arrest and kill Jews during the Holocaust, that movie would be banned in the US.

How then is this Hollywood version of Harriet Tubman allowed to fly through theaters around the US and worldwide? Because white Americans are by and large accepting of idiotic narratives of Black involvement in the chattel enslavement of Africans for centuries in the US, but these same white audiences would show the lack of a similar appreciation for Jewish involvement in the Holocaust!

The double standard goes to show the extent of the insidiousness of Anti-Blackness, not just in Hollywood but outside of it, e.i. inside the walls of the white house itself! This Hollywood version of Harriet Tubman feeds its white American audiences of the caricatures of Black-on-Black crime while it glosses over the narrative of the real persons behind Black suffering and enslavement: white America!

But even before the movie was made, most African Americans predicted this result. It has become common expectation among Blacks that white produced films of real events in America about Blacks cannot be trusted for historical accuracy. Certainly, this Hollywood version of Harriet Tubman is a shining example of white America’s inability, and reluctance, to face simple truths and take actual responsibility. This Hollywood version of Harriet Tubman’s life is simply a cookbook out of 1984: The lies are the truth, and the Devil is the Angel. Total coprolalial nonsense. We boycott the film!

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Amenuti Narmer
Narmer Amenuti (Dances With Lions) was born by The River, deep within the heartlands of Ghana, in Ntoaboma. He is a Public Intellectual from the Sankoré School, a Temple of the African Prophetic Tradition. He remains the only surviving speaker of Vebantu, the Ancestral Tongue to most West African languages. As a Culture Critic from the Sankoré School (of Critical Theory) and a Guan Rhythmmaker, he is a dilettante, a dissident and a gadfly, and he eschews promotional intellectualism. He maintains strict anonymity and invites intellectuals and lay people alike to honest debate. He reads every comment. ~ Success is a horrible teacher. It seduces the ignorant into thinking that they can’t lose. It seduces smart people into thinking that they have to win. Success corrupts; Usefulness exalts. ~ Narmer.

7 COMMENTS

  1. If only the writers and directors mistook the movie for a parody. And didn’t realize until the filming was over that it was meant to be a serious topic. Otherwise I don’t see how anyone, even the most anti black Nazis in town, could think this could fly in the face of the Trump era when people already think white people hate black people for no reason but now this just shows that the liberals too practice the same hate as the conservatives.

  2. My Dear African Historian!

    You should take a cursory look at the new US (Hollywood) film about the African American hero, Harriet Tubman. Follow the critics and then please go back to your library at the University of Ghana.

    Take another look at all the history books written by Europeans about Africa. I assure you, you will end up with only one option: the option to incinerate all of that trash-talking-writing about Africa. They are all lies! You see the thing?

    One way to break free from the pogenous, bovaristic, coprolalial, excerebrose, facinorous, gnathonic, hircine, ithyphallic, jumentous hatred for Africa and for Blacks everywhere in the diaspora by the white man is to stop reading white peoples’ kyphotic, oligophrenal, papuliferous, quisquilian, rebarbative, saponacious, ventripotent, xylocephalous nonsense.

    • Sista, Hollywood thinks that it has developed a pachydermatous model of film-making. Well, we shall see how thick and skin-deep the model runs. The criticisms will flow and we shall see if they hide or shine.

  3. Narmer, you’re too much. I am still looking up those vocabularies to get proper understanding ….🤔🤔. I have watched the Harriet Tubman movie but some of the scenes were difficult to understand or simply put: doesn’t make sense.

    • My friend, the thing is atrocious! The lubricity and nugatory of it all situates Hollywood’s version of Harriet Tubman within the doldrums of artistic and historical rejectamenta.

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