Walt Disney Gets Schooled By Sleezy Jews

Walt Disney's demeanor as a business man would forever change after his encounter with his sleezy Jewish distributor at Universal Studios, Charles Mintz, in New York City in the spring of 1928. In a twist of irony,
Walt Disney studios are now controlled by the hyper Jewish Michael Eisner.

Mortimer the sleezy Jew mouse, Micky's rival

In the November 1997 issue, Zip 113 gives an interesting sidelight concerning Hollywood's animosity towards Walt Disney, who certainly returned this lack of affection in full measure and was quite well known for his scarcely concealed distrust of  business Jews.

Viewed from an objective vantage point, however, such anti-Jewish feelings on Disney's part are quite understandable. In 1928, Disney's cartoon distributor, one Charles B. Mintz, concocted a scheme to lure the artist away from his successful "Alice" series in order to create a new one which Mintz would legally control.

Disney and his brother, Roy, had no idea that Alice was still as popular as ever and that Mintz had lied when he told them exhibitors refused to screen the series any longer. Mintz held the Disney "bumpkins" in such contempt that he actually expected the brothers to willingly turn over to him both their new creation and their entire studio.
Mickey Mouse cartoon 'The Opry House' (Walt Disney, 1929) featuring Mickey imitating a Jew
Walt, Roy and their staff, convinced by Mintz that a rabbit character would be able to replace Alice, worked round the clock to develop "Oswald, the Lucky Rabbit." The Oswald series was then peddled to Carl Laemmle, head of Universal Pictures, a studio Jewish to the marrow.

 The public went wild over Oswald, thanks to Disney's genius, while Mintz and Laemmle raked in the shekels. The two shysters formed an informal partnership to merchandise the Oswald character without Walt's knowledge, consent or financial participation.

In February 1928, Walt traveled to New York to meet Mintz. Following an affable Astor Hotel lunch, during which he went out of his way to show deference to the youthful Disney, Mintz ushered Walt into his office and got down to the Tribe's favorite pastime.

Illustration by Arthur Rackham
Tricksters, master[s] of craft and deception. Grims  "Brave Little Tailor"

His demeanor changed instantly from friendliness to cold intensit as he laid it on the line. Disney would take an immediate $500 per cartoon cut, a not inconsiderable amount in 1928. The alternative was for Mintz to take over production of all Oswald cartoons with the active assistance of Disney's own staff!

Perhaps the hardest part for Walt to take was the loss of his creation, for Mintz had slyly set things up not only to acquire the Rabbit, but all marketing rights.

Stunned, Walt sat their wordless. We can well imagine his state of mind as he faced a man he had trusted completely. It is easy to envision the "hick" from a Missouri farm recalling all the stories of Jewish treachery and perfidy he had heard in his Midwestern upbringing.

It doesn't take much to imagine the intense dislike for sleezy Jews which was born in Walt's heart that instant, amid a scene indelibly fixed in his brilliant mind. Instead of giving vent to his emotions, however, he mumbled something about "thinking it over," and excused himself.

Disney's first character, Oswald the Lucky Rabbit (1927), was
lost to Universal Studios in 1927 after the studio distributor, Charles
Mintz, took the rights to the character and hired away most of
Disney's animators right out from under Walt Disney.

Believing he had Disney at his mercy, Mintz made what he felt was a magnanimous offer. At the next day's meeting he told Walt that a sense of "compassion" compelled him to make a "concession" -- the newly formed Mintz Agency would pay production costs and salaries for all subsequent Oswald cartoons. All Mintz asked in return was a mere 50% ownership of Walt Disney Studios!

Having played the goy gull long enough, Disney made the smartest decision of his life. He signed over everything to Mintz except his beloved studio and caught the next train back to Los Angeles.

On the way, Walt made a solemn vow that he would never again permit himself to fall into the grasping tentacles of the kosher crowd. It was an oath he would keep till his death. Shortly afterward, with a few deft strokes of his artist's pen, Disney stole Oswald back from those who had suckered him.

The result? A big-eared mouse that would keep a Gentile studio on top of its Jewish competition for 60 years. But this wasn't the end of it. In their book, Cartoon Confidential (Malibu Graphics Pub., 1991) authors Jim Korkis and John Cawley describe how Disney fired back at his tormentors every time the opportunity arose.

 His intense dislike for sleezy Jews showed up in his cartoons, well aware they made Jews squirm. Jews could do nothing about what was obviously a guaranteed constitutional right:

In the original animated version of The Three Little Pigs (1933), there is an unflattering Jewish peddler caricature that that wolf assumes in an attempt to trick the pigs. Today, viewers will not find that scene because that section was reanimated in later years by the Disney staff to eliminate that offensive moment and the wolf is now merely a brush salesman. (p. 37)

It is not surprising to learn that these "revisions" occurred after Jews took over the Disney studio. But Korkis and Cawley mention one scene from an early Disney cartoon which, at the time of writing, had not been expurgated: "Sharp-eyed viewers can still see a very brief glimpse of a Jewish caricature mouse in The Brave Little Tailor (1938), a caricature that was repeated in the comic strip version of the story." (p. 37)

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Old Japanese proverb