Nativity!

2009. Martin Freeman and presumably other Jews on the 'nativity of Jesus'. 'A Debby Isitt film'.

I watched this to test the idea that the Jew-dominated media hate Jesus Christ. But since they invented him (or copied the invention from earlier civilisations) is that plausible?

November 2009; this film must have been made for a (or the) Christmas market, what would have been the pantomime season in years gone by, and the Christmas season at the Music Hall before that.

Backward, in the mists of time, there must have been similar events in houses, particularly Great ones, and in Churches. So there are the tattered remains of a long tradition, mostly gone the way of things like maypoles and yule logs and holly and mistletoe. The central event of the film in mostly in its future, and is arranged as a musical nativity, the songs, accompaniment, and vocal styles in the manner popularised in Strictly Come Dancing and This named country Has Talent and I suppose Eurovision Song Contest.

I didn't find much Jewish hatred in this film; perhaps a baby with a Jewish name, grown-up and boiled in shit was difficult to work in. I simply hadn't realised that the 'traditional' story (i.e. from the 1600s, and the new printed Bibles) is a simplified Jew narrative. And this was modified from Egyptian and Persian and what-have-you sources. 'Three wise men from the east' represent a Jewish incursion. They offer gold, though the financial arrangements are unspecified; Frankincense, as I suppose a symbol of exotic goodies; and Myrrh for the dead bodies. Symbolic entrance of parasites-to-be, disguising their aggression as friendship and generosity. The high point of the film, the barely-noticeable injection, was “King of the Jews” in a song.
I felt rather gut-tugging sorrow that children are still exposed to this rubbish.

This seems to be one of a series of films with similar titles. (I found another three on Wikipedia, which of course is useless for anything serious). I have no idea whether they were deemed successful. Perhaps by now 'Netflix' has absorbed them or replaced them with American stuff. For this was a BBC film, with several other organisations credit too, and credited as 'A Debby Isitt film' in a way that makes it look as though she produced it, though it would seem others—notably the taxpayers and repayers of future loans—supplied the dosh.

At that time, Martin Freeman as Bilbo was some years in the future; Sherlock Holmes was about to start. I remember Ashley Jensen in Extras which was few years earlier. Pam Ferris from Harry Potter was earlier still. She plays a rather terrifying head of a junior school in Coventry, in middle England; why there, I have no idea. Anything BBC-related must have uses for its rotas of actors and their publicity campaigns and agents, with strict demarcations and class lines and Equity rules to suit Jews.

There must by now surely be rules of thumb for assembling plots—main plots, subplots, number of conflict points, number of characters per minute, number of words per speaker, and so on. And I suppose for nibbling at boundaries. This one suggests pupils should visit childbirths and real animals. If they're called 'pupils': perhaps 'customers' now? There seemed to be only one coloured immigrant, a Jewish staple; but I think he was diluted by a few Chinese or Indians or other so-called 'minorities'.

The conventions seemed aimed at adult performers, not anyone else: singing in pop-music mimicry style, dances in something like pop video style, for example. And—and this was the fulcrum of the film—love of what they called 'Hollywood', though of course Shepperton and Australian equivalents and Chinese studios are close rivals. It's painful to me (as in Calendar Girls etc ad nauseam) to see these little kids trained to cheer mindlessly. I can recall from about 1970 seeing a script for a school play which included the phrase ‘Shoes of the Red Sea’, a typo which nobody else noticed.