The Debt

This is another Holocaust survivor movie that has you in a whirlwind of BS in Berlin. This Jewish fantasy is about hunting down the “Surgeon of Birkenau” or Josef Mengele who is somehow known as Dieter Vogel in this movie, I presume to protect the innocent. This production of absolute slander is very similar to Munich where Jews (G_ds Chosen) get together and break every one of the Ten Commandments to get their men.

The lemming spectator is constantly bombarded with the Jew fighting with him or herself not to become one of the German monsters themselves, but sadly they always do. Of course it is always legitimate hatred with Jews because everyone knows anyone who wants to make a truthful movie about Jews to counter their lies will be monster too.

You have lies coming from all directions in this movie that will never be explained. Why couldn’t they just call Mengele by his real name? These Jews claim they were forced to lie for 30 years so to not disgrace the land of Israel (the Jew welfare state) and had to live with their lies all that time (all for the good of Jewry). The moral of the story is sometimes you have to lie even if it’s against your own morality. You do what is good for Jewry period. The truth is Jews create the opposition simply to justify their own psychotic behavior.

I could spend an hour just writing down the hogwash of this movie, the psychotic thinking, the hypocrisy, etc., but nowadays one thing always sticks out even more than the Holocaust nonsense. The most incredible lie of all I see in movies like these is totally overlooked even for an expert in Holocaust studies. Most of the Holocaust experts will never touch this issue; in fact I’ve not known one. Here we have Jews in Berlin who are acting as if they are Germans or even Russians that blend in with the European people with ease and nobody is even thinking how these people could be the Jews of the Middle East.

Ciaran Hinds, an Irish actor is in both Munich and The Debt and plays a Jew in both movies. How is it Jews can go all the way to Ireland to find an actor to portray a Jew? When you think about it, someone like Ariel Sharon would never be able to roam around Germany or Ireland unnoticed. But the really huge overall lie in movies like these is that Jews claim to be the Israelites of Palestine who blend in with Europeans, yet most Europeans believe these Jews are from Palestine and no way they themselves (you) could be because they are white people. If Jesus or any of the apostles looked like Ariel Sharon or Al Capone do you actually believe the whites who migrated to Europe would believe them? Would you believe these movies if the actors looked like Alan Dershowicz? Dont you think your ancestors knew the difference too?

Jews often have obvious lies in place to stump you on the more important lie(s). It’s all to keep you diverted from the head of the snake. Jews lie not because they are faithful to any land mass, they lie because it is what they do, more importantly what they were born into. Its best to stay out of the acting business and just tell the truth. Helping Jews perpetuate their lies has to have a heavy penalty.

The biggest mistake of the Nazi era wasnt the Nazi’s themselves it was the idiots who helped Jews thinking something good may come from it.

New York – Report: MoMa Refuses To Return Looted Nazi-Era Artwork To Rightful Owners

Published on:   Today 03:03 PM

News Source: VIN News By Allison C. Witty
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New York – An explosive report by the New York Post today ( reveals that many New York City museums, particularly the Museum of Modern Art (MoMa), are in possession of Nazi-seized artwork.

Some 650,000 pieces of art were seized from Jewish families between 1933 and 1945. Many works by artists Picasso, Matisse, Chagall and van Gogh, which had been deemed by the Nazis as “degenerate art”, were removed from the walls of German museums and were destroyed. Other paintings were sold overseas, with the profits applied to Nazi coffers.

In 1988, over 40 countries assembled in Washington, DC to establish guidelines for identifying, returning, and settling claims for looted art. The principles stated that a “just and fair solution” should be reached in the event that pre-war owners made a claim for their stolen artwork. The United States supported the move to investigate the origins of museum artwork and to determine if the works could be traced back to Nazi-era Europe.


MoMa Director Glenn Lowry said that MoMa “does not and will not knowingly exhibit stolen works of art,” and promised, along with other New York museums, to review its collections for seized Nazi-art. MoMa launched its “Provenance Research Project” in 2001. It identified approximately 800 pieces that met the definition of works acquired after 1932 that may have been in Europe during the Nazi era. However, the museum said the majority of the works “have provenance records that are sufficiently complete to eliminate the likelihood of Nazi misappropriation.”

Ironically, MoMa’s website lists one of its paintings by Andre Derain called “Valley of the Lot at Vers” as having been seized and termed “degenerate art.” It was “sold by the Nazi government” and purchased by the museum in 1939 at a gallery owned by a Nazi agent.

“The Poet Max Herrmann-Neisse,” a George Grosz painting, is currently hanging in MoMa’s European painting gallery. Grosz was a German Expressionist painter and a critic of Hitler. MoMa bought “The Poet Max Herrmann-Neisse” for $750, plus a $100 commission in 1952 from a man authorized by the Nazis to sell German art abroad. Grosz’s other two works were auctioned off in a fraudulent sale in the Netherlands in 1938. MoMa later purchased one of the paintings and received the other one as a donation. These two paintings are being held in MoMa’s storage.

The family of Grosz sued MoMa for the return of his three paintings. But the museum prevailed by arguing that the three-year statute of limitations to bring a claim had expired. “We had hoped for a settlement and that they would make nice, some kind of an attempt,” said Lillian Grosz, the widow of George Grosz’s son. “The big thing was that they hung the whole thing on a date. It was a moral issue for us.”

To date, MoMa has yet to return a single work.

“This is perhaps the greatest property crime in human history, and our courts of law are rubber-stamping it for the duplicitous museums who are getting to keep the benefits of Hitler’s crimes and to continue to display stolen art to American schoolchildren,” said Raymond Dowd, attorney for the Grosz family.

Lillian Grosz said the family has given up and cannot keep fighting MoMa for the return of the stolen art. “We have no desire to reopen it [the lawsuit],” she said. “MoMa has very deep pockets and is a very powerful institution.”
The Grosz family attorney added, “They’re hiding the records that show that they have received stolen property and then blaming the victims of the crime.”

Other museums, including the Met, identified 500 works which were allegedly in Europe during the Nazi era, and thus far, has settled five claims and returned six pieces. The Brooklyn Museum found 200 pieces tied to the Nazi era, but said it has not received any claims and has not returned any works. The Jewish Museum, with 275 paintings dating back to World War II, also said it has not received any claims. The Guggenheim would not comment as to whether it had returned any of its 300 Nazi-era pieces.

~You are paying for it now and soon your kids will. There is a big difference calling Jews Zionists then it is calling them Jews. These freaks want everything you have and it has nothing to do with that craphole in the Middle East. Those poor poor Jews want their multi million dollar paintings back. Couldnt we sue Jews for bringing their slaves here? We could sue Jews penniless for all the crimes they committed. I honestly don’t know how we still have a Jewish Federal Reserve and why we havent sued Jewry for that alone, but we lost all our power in the courts. Its time for revolution, it’s camp time! Time for Jews to pay their debts.

Evil will triumph when good men do nothing (now in Bulgaria)

You will fight or you will die a slow death!

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3 Responses to The Debt

  1. Barney says:

    I agree 100% with the Nazis. So-called jew “art” is total crap. I neither know nor care whether pablo pick-asshole was “of the tribe”, though he probably was. What I do know is that the creep was incompetent, useless, probably insane and certainly no artist. The so-called “photographer” David Bailey is another of the same.

    As a photographer myself with nearly half a century’s experience, I’ve always said it’s necessary to master the technique (photography, painting, drawing, sculpture) before you can even think about “art”.

    These idiots who say “I’m an artist” just because they can produce a crude drawing that may or may not even be recognisable are just that – idiots.

    The jew “art world” consists entirely of incompetent vermin praising their own feeble efforts and claiming that anyone who dares to speak the truth, that their “work” is absolute rubbish, “lacks the intelligence to understand it”!

    Excuse me while I throw up over the nearest jew.

    If I was given anything by pick-asshole or that revolting “the scream”, it would go straight on the bonfire. Who cares that some jew might offer millions for it? The world will be a better place once all degenerate jew “art” is totally destroyed.

    The REAL Debt will soon be paid now that so many people are learning the Truth about the devil’s gargoyles.

    • melgibstein says:

      Art isnt worth a dime until Jews own it, then it is of priceless sentimental value that only Jews can appreciate. One thing is for sure, they are still amongst us after all their hatred for us when they can freely go to that craphole in the Middle East. They dont want that hellhole, they want your house, your daughters, your looks and your history that they will never get. A Jew with a piece of artwork is a perversion in itself, there is no such thing as a Jew owning art. If they have it in their possession it should not be seen with them again because they shouldnt be among us in the first place.

  2. GTRman says:

    ” Moreover, a glance at the great cultural centers of today’s Jewry, New York and Tel Aviv, would easily belie any such notion. Tel Aviv, well, meh. As for New York, its reputation as a world capital of culture and everything else is a function of well-known Jewish logrolling or ethnic networking: J-artists “discovered” by J-gallery owners, pumped by J-critics in J-periodicals, sold for big bucks to J-“patrons” (the ones still whining, after nearly a century, for the “return” of “their” artworks that were liberated by the forces of the European Revolution) and ultimately for bigger bucks to bemused goyishe patrons (blue bloods or Junkers as the case may be); substitute any other area of society ad lib.”

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