9/11: THE STRANGE CASE OF THE FILM SWORDFISH (2001)
1. LEGITIMATE QUESTIONS
“You know what the problem with Hollywood is? They make shit. Unbelievable, unremarkable shit. Now, I’m not some grungy wannabe filmmaker searching for existentialism through a haze of bong smoke. No, it’s easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as prose. No, I’m talking about the lack of realism,” says Gabriel Shear, the character played by John Travolta, in the opening seconds of the film.
a. Why does a second-rate Hollywood action movie think it can lecture Hollywood and spit in its face?
b. Why does a completely far-fetched, openly unrealistic action movie denounce Hollywood cinema for its lack of realism?
Gabriel Shear goes on to explain that the robbers in Sidney Lumet’s Dog Day Afternoon should have ruthlessly killed dozens of hostages to pull off their heist. And later, in another scene, he praises the virtues of sacrificing innocents, claiming one should not hesitate to massacre a thousand Americans if that is what it takes to preserve our way of life.
c. Why does this character insist on convincing us that sacrificing large numbers of Americans is useful and beneficial, while he himself deliberately kills no innocents during his own crime?
2. WHY IS THE HYPOTHESIS OF COVERT PROPAGANDA FOR THE 9/11 OPERATION PLAUSIBLE?
The character played by John Travolta certainly has enough to raise eyebrows.
This “ex-Mossad agent” belongs to a secret organization — founded by a former FBI director — whose purpose is to defend U.S. interests at any cost. And since the CIA already recoils at very little when defending U.S. interests, one wonders what “at any cost” really means. A crime so atrocious that even the CIA would hesitate to commit it? Which one? Given that Gabriel Shear fancies himself a teacher and, from one speech to another, gradually increases the number of innocents he claims should be sacrificed, one can guess he has some kind of carnage in mind.
His aim is, conveniently enough, to trigger an expensive war on terror.
And the assassination of a character openly modeled on Osama bin Laden at the end of the film illustrates that this goal has been achieved.
a. The timeline
The film was released in June 2001 in the United States. And it is indeed in the home stretch preceding an operation of such magnitude that conspirators might feel the need to galvanize themselves.
One should also note that the film ends in Monaco, where Gabriel Shear calmly reaps the fruits of his crime — and Swordfish was released in Monaco on September 12, 2001, the day after the attacks.
b. The number of victims
“Why not go as far as sacrificing a thousand innocents to save our way of life?” basically says Gabriel Shear.
The order of magnitude is indeed close to the 9/11 death toll: 2,977 dead.
c. The motive
To finance a costly war on terror, which just happens to be the exact same one pushed by the neoconservatives of the Project for the New American Century (1997–2006).
d. Bin Laden’s death as a marker of success
There is no doubt that the Arab–Muslim terrorist leader assassinated at the very end of the film is modeled on Osama bin Laden.
e. The moral dilemma
A false-flag operation like 9/11 must obviously have posed an immense moral dilemma for the less psychopathic conspirators.
Acting as their advocate, Stanley Jobson says to Gabriel Shear: “How can you justify all this?” and “No man has the right to make that decision. You’re no different than any other terrorist.”
Gabriel Shear then goes to great lengths to convince him that it’s not such a big deal: “You’re wrong, Stanley. Thousands die every day for no reason at all. Where’s your bleeding heart for them?”
If such a massacre makes it possible to raise the stakes and strike terrorist states harshly and mercilessly, then it is useful and beneficial to sacrifice a thousand Americans, Gabriel Shear claims categorically: “What country will harbor terrorists when they realize the consequences?”
f. The sneers at Hollywood cinema and its lack of realism
Needless to say, if this film conceals swaggering propaganda for the 9/11 operation, our three initial questions are instantly answered.
3. A FRUITFUL INVESTIGATION
A fabulously wealthy (yacht) Arab–Muslim terrorist leader, elusive, long sought after, and responsible for bombing a U.S. embassy...
The “Allal bin-Hazzad” killed at the end of the film is without the slightest doubt inspired by Osama bin Laden, who was blamed for the August 7, 1998 attacks on the U.S. embassies in Nairobi (Kenya) and Dar es Salaam (Tanzania), and who was indeed, in early 2001, “elusive” and “wanted”: the FBI had placed a $5 million bounty on his head.
But Allal bin-Hazzad is far from the only character in the film who bears striking similarities to a real individual.
a. Stanley Jobson (Hugh Jackman) bears a strange resemblance to Kevin Poulsen
Stanley Jobson is recruited by Gabriel Shear after hacking the Department of Defense’s computer system.
As it happens, Kevin Poulsen had obtained a security clearance issued by the Department of Defense while working at SRI International, and he participated in sensitive military communications projects.
According to an article in the Los Angeles Times, he took part in military exercises and worked on systems intended for the Strategic Air Command.
Like Stanley Jobson, he spent time behind bars, and afterward he was forbidden to use a computer for several years.
A Californian and father of a daughter, he went through a rough time after getting out of prison (in July 1996), only to regain gradually some prosperity shortly before the film’s release.
b. Gabriel Shear (John Travolta) turns out to be a barely veiled portrait of Arnon Milchan.
1] Gabriel Shear speaks like a true Hollywood insider.
Gabriel Shear: “Realism — not a pervasive element in today’s modern American cinematic vision. Take Dog Day Afternoon, for example. Arguably Pacino’s best work — short of Scarface and Godfather Part I, of course. A masterpiece of directing. Easily Lumet’s best. The cinematography, the acting, the screenplay — all top-notch.”
2] Gabriel Shear possesses immense wealth.
Axl Torvalds: “He exists in a world beyond your world. What we only fantasize — he does. He lives a life where nothing is beyond him. But you know what? It’s all a façade. For all his charm and charisma, his wealth, his expensive toys... He is a driven, unflinching, calculating machine.”
3] Gabriel Shear is a former Mossad agent.
“The body’s dental exactly matches the dental the Israeli government sent us for an ex-Mossad agent named Gabriel Shear.”
4] Gabriel Shear does business with major arms dealers.
Stanley: “So you and your band of lunatics are gonna steal all this money just to protect little old me?”
Gabriel: “That’s right, Stanley. Because wars cost money.”
5] Gabriel Shear is likely to acquire nuclear warheads.
Gabriel: “Did you know I can buy nuclear warheads in Minsk for forty million each? Hell, I buy half a dozen, I even get a discount.”
6] Gabriel Shear has a bank account in Monaco.
The stolen money is transferred entirely to an account at the “Bank of Monte Carlo.” And Gabriel Shear’s accomplice goes, on his orders, to Monaco to this bank at the end of the film.
7] Gabriel Shear likes to handle business in a nightclub.
Stanley Jobson’s highly unconventional “job interview” (fellatio) takes place in a nightclub.
8] Gabriel Shear is linked to a secret organization — with criminal methods and patriotic aims — founded in the 1950s.
Gabriel Shear: “J. Edgar Hoover started a secret organization in the 1950s called Black Cell, designed to protect the freedoms of this country at all costs.”
And yet, to my knowledge, only one person in the world fits all of these characteristics:
ARNON MILCHAN
1] Arnon Milchan speaks — understandably — like a true Hollywood insider.
He has produced more than 130 Hollywood films.
2] Arnon Milchan possesses immense wealth.
Although Arnon Milchan officially entered, according to Forbes magazine, the exclusive club of billionaires only in 2004 — never to leave it — his biography reproduces a letter, dated August 22, 2001, in which his former associate Richard Kelly Smyth twice refers to him as having a fortune of $1.5 billion.
3] Arnon Milchan is a former Mossad agent.
4] Arnon Milchan does business with major arms dealers.
5] Arnon Milchan is likely to acquire nuclear warheads.
Since the publication of his biography in 2011, and since his own admission two years later on Israeli television, we have known that Arnon Milchan was, for more than two decades, a spy and an arms dealer working for the nuclear program of the State of Israel.
6] Arnon Milchan has a bank account in Monaco.
“[Richard Kelly] Smyth, a former science adviser to the U.S. Air Force, disappeared in August 1985 after his indictment, leaving federal investigators unable to prove his role in the illegal shipment of 800 nuclear weapons triggers to Israeli companies owned by Arnon Milchan, a Hollywood producer and industrialist with dual citizenship in Israel and Monaco.”
— Robert Windrem, Israel–Hollywood nuclear connection, NBC News, October 24, 2003
7] Arnon Milchan likes to handle business in a nightclub.
“While in Israel, and away from his Paris base, Arnon spent much of his time in meetings at a new private club opened by his friend Rafi Shauli in April 1977, in north Tel Aviv. The new club was simply named The Club.”
— Meir Doron and Joseph Gelman, Confidential: The Life of Secret Agent Turned Hollywood Tycoon Arnon Milchan, Gefen Books, 2011, p. 130
8] Arnon Milchan is linked to a secret organization — with criminal methods and patriotic aims — founded in the 1950s.
Let us recall that Arnon Milchan’s careers as a spy and as a Hollywood producer do not follow one another; they overlap. When he produced Once Upon a Time in America by Sergio Leone and Brazil by Terry Gilliam, he was an active agent of Lekem, notably involved in stealing nuclear-weapons detonators in the United States.
“Lekem was an Israeli intelligence agency. [...] It was responsible for collecting abroad, from both public and secret sources, scientific and technical information, particularly for the needs of the Israeli nuclear program. This service, founded in 1957 [...] was officially dismantled in 1986 [...].”
— Wikipedia, 2024
A few additional elements speak volumes and reinforce our hypothesis.
Milchan is a friend and associate of Rupert Murdoch — who purchased 20% of his production company, New Regency, in 1997 for 200 million dollars. Yet two years earlier, Murdoch had launched The Weekly Standard with William Kristol, the future co-founder of the Project for the New American Century.
Arnon Milchan was one of the executive producers of the series The Lone Gunmen: he is credited on 12 episodes but absent from the pilot episode “for contractual reasons,” as Grok 4 tells us.
“In the pilot episode, which aired March 4, 2001 (exactly six months and one week prior to the September 11 attacks), rogue members of the U.S. government remotely hijack an airliner bound for Boston, planning to crash it into the World Trade Center, and allow anti-American terrorist groups to take credit, to gain support for a profitable new war following the Cold War.”
— Wikipedia, 2024
Arnon Milchan was the producer of Fight Club (1999).
In this David Fincher film, underground fighting leads to the formation of a paramilitary-type organization operating covertly within the United States.
Fight Club ends with the destruction of the two Century Plaza towers in Los Angeles.
Let us recall that the two Century Plaza towers are the other “twin towers” of the United States and, moreover, share the same architect as the World Trade Center: Minoru Yamasaki.
The first film in which Arnon Milchan’s investment as a producer was significant — more than half the budget — was The Medusa Touch in 1978. This feature film adapted a novel by Peter Van Greenaway whose cover depicted a commercial airliner crashing into a skyscraper.
Arnon Milchan produced only one film in September 2001, and it was titled Don’t Say a Word, as if to remind the conspirators that their silence is the keystone of the operation.
Last but not least, the photo album included in Arnon Milchan’s biography shows him arm-in-arm, on vacation, with Joel Silver — the principal producer of Swordfish.
All of this is, of course, only a taste of “The Arnon Milchan Hypothesis” developed in 9/11 Explained to the FBI.
In concluding this new presentation, I would like to awaken awareness of a reality that anyone unaccustomed to the study of psychopathy is reluctant to perceive.
To conceive and orchestrate an incredibly spectacular false-flag operation — one guaranteed to alter the course of history, endowed with an alleged moral justification (Zionism), and which, by its very design, is meant to rule out or at the very least discredit any suggestion of your own involvement — is intoxicating, thrilling, downright exhilarating.
It is gauging this exhilaration, this utter contempt for ordinary mortals, this arrogant pride and this drunken sense of omnipotence and impunity that one can grasp just how plausible it is — as Kevin Barrett, PhD, believes — that the plotters went so far as to indulge themselves with a delightful Hollywood movie of their abominable crime.
Philippe de Vulpillières