A Racial Review Of Rob Reiner’s “A Few Good Men”

1.) An accused gung-ho black Sgt. in the Marine Corps

2.) A highly principled feminist attorney (Demi Moore)

3.) A black Judge
4.) A White Lt. Col. who shows his purity by killing himself
5.) a Jewish lawyer serving with Cruise on the defense team (character name – Weinberg)

Along the way in the film Tom Cruise is converted by Demi Moore to see the righteousness in not plea bargaining a sentence for the principled black Sgt. and his doofus white underling private who have been arrested for murdering a Hispanic soldier who is portrayed as a saint throughout the film. Throughout the film the white private from Iowa who is a few bricks shy of a full load is contrasted with the wise black Sargeant. The white private is a dunce and is clueless about what is going on, while the black Sargeant is principled.

The villains in the film are all military

1.) The biggest villain is Jack Nicholson’s character
2.) His villainy is shared by his underling, First Lieutenant Jonathan James Kendrick, played by Kiefer Sutherland

Of course both of these chaps are white and they are presented throughout the film as the problem with the Marine Corps and indeed, by extension, the problem with white people in general. White people just want to both kill off brown people, or failing that, they want to see them unjustly imprisoned as scapegoats for their crimes.

Now, being honest, I have little sympathy for US Military types since it is my conviction that the US Military has served for decades as the muscle for the New World Order (see Maj. Gen. Smedley Butler’s “War is a Rackett”). However, it is clear that Aaron Sorokin (Jewish writer of the film) is going after both the US Military and is tying the problem in the US Military with the presence of white people. “A Few Good Men,” is clearly an attack on white people.

The one white person who isn’t an explicit liberal in the film is played by Kevin Bacon. Bacon is the prosecuting attorney and he is depicted as being a guy who is caught in the wheels of the system. He does his job — a job that means he is trying to put away a black man and his dumb white farm boy friend for life for murder, and this despite his sense that he knows that something is amiss in the case he is prosecuting. It is Bacon’s character more than anybody else as the film unfolds how is “just following orders.” Again, a more subtle dig at white people, I would say.

The White people would get away with it all if only Jack Nicholson’s character was just a wee bit sane. But the white man’s sanity is so unstable and his vanity so grand that Col. Nathan Jessep (Nicholson’s character) can’t resist, while on the witness stand, from boldly and proudly confessing to his crime of ordering the black sargeant and the white Iowa farm boy to give a “code red” (illicit punishment) to the poor saintly Hispanic private that resulted in his death. Col. Jessep is immediately arrested and the Jewish liberal worldview is vindicated. The white lawyer played by Cruise is a hero because he has acted consistent with the feminism and Jewish worldview of the characters played by Demi Moore and Kevin Pollack.

Other racial scenes in the film include the point where the black judge is able to put Col. Nathan Jessep in his place by requiring Jessep to refer to him as “Your Honor.” Also Cuba Gooding plays a virtuous soldier who gives righteous testimony during the trial.

There is a bit of class warfare going on in the film as well. Cruise’s character is seen as being a upscale elite Harvard type born to the manor while his opponent (Nicholson) is portrayed as coming from a humble blue collar beginning. This theme is played off a couple times in dialogue between Nicholson and Cruise. Though they are each white they come from different worlds.

One has to like Cruise’s character. Flippant, irreverent, sarcastic, callow, and intelligent. Cruise’s character (Daniel Kaffee) is the perfect anti-establishment foil for spit and polish Col. Nathan Jessep. Because of this the viewer is pulled into supporting Kaffee while abominating Col. Jessep’s character (arrogant, self-righteous, grandiose, dismissive). In such a way worldviews of the viewers are subtly changed over time and with repeated similar messaging.

This film was released in 1992 but even then the worldview of WOKE and Jewish cultural Marxism was working its way into the arts.

Rob Reiner’s Cultural Marxist Jewish worldview is on parade in this film.