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Movies: Bahman Nassiri’s “The Golden Veil”: Does the House of Rothschild Lurk Behind It?

Mark Dankof on New Year's Eve, 2010 in San Antonio

   

 

     It is now a distant memory.      

     I was awakened in my Washington, D. C. apartment in the early dawning of winter in 1978 by a phone call at 5 a.m.  It was my father at the other end of the line.

     He was cordial but terse.  The terseness always accompanied something critically important.  Terseness was matched by his familiar phone-line brevity. 

     The call informed me of his impending arrival later that morning at the now-named Reagan National Airport.  He was traveling with only one bag and would come to my apartment via a quick ride from the airport on the D. C. Metro’s Blue Line.  We would spent one day together before his departure from Dulles International to Mehrabad Airport in Tehran, Iran.

     The purpose of the trip was explained after he was in my front room.  Lockheed International was sending him back to Iran from San Antonio.  He was to assess the political and security situation in that country, and recommend to his superiors a specific course of action.  Should all of Lockheed’s “Peace Logistics” workers be pulled out of Tehran and brought home to the States?  Or should the company stay the course and maintain its presence in bringing American logistics support to Shah Mohammed Reza Pahlavi’s Imperial Iranian Air Force?

     My reaction to the usual paternal briefing was succinct.  I told my father that based on the mobs in the streets of Tehran I was seeing nightly on CBS News, Lockheed ought to spare the money—and potentially my father’s life—and pull everyone out.

     He did not directly respond to this observation.  We spent the rest of our day driving around greater Washington.  He wanted to revisit our former family homes from my early childhood, in McLean and Alexandria, Virginia.  We found both places easily, which prompted him to reminisce about old times on active American Air Force duty as a young officer when my older brother and I were kids, and when my mother was an especially critical component of both stable family unit and fruitful military career.  It was a different America then, before the passing of so many seasons in his life and mine.

 

A precocious Mark Dankof in Alexandria, Virginia in 1959.

    

Mark Dankof's Childhood Smile Exhibited in Washington in 1958.

     The uncharacteristically poignant nostalgia emanating from my father caused a thought to cross my mind.  Maybe he knew how dangerous this assignment might prove to be.  Perhaps it would be his last.  Had he suddenly stopped over in Washington to bid me possible farewell?  The aura and tone seemed unmistakable.

     That is all that can be presently said about those days.  In the wake of my father’s passing in 2009,  I may one day say more.  But what I remember from late 1978 and early 1979 was the pungent scent of an omnipresent Trinity of tension, tragedy, and mystery.  Those more directly involved and caught up in events revolutionary in the Iran of that time would either lose their lives outright, or have their lives irrevocably changed forever.  The recent death of Prince Ali Reza Pahlavi and the family tragedies of Shirin Neshat of Sarbazan, are microcosms of individual and collective pain whose unbearable poignancy and power has endured for 32 years and counting. 

Cyrus the Great's tomb at Pasargadae, Iran is captured on a winter night most magnificently by the astrophotography of Oskin D. Zakarian of Tehran.

     This tension, tragedy, and mystery is well captured  in Bahman Nassiri’s new movie, The Golden Veil.

      The palpable existential tension and historical tragedy inherent in the end of Pahlavi Iran is effectively conveyed to the viewer  in the romantic relationship between an American journalist with CIA connections (Ben Trimm) and a beautiful young female SAVAK agent, Layla, played by Noelle Perris.  For Iranian and American denizens of this long distant time and place, the eventual tragic conclusion of this love journey is as eminently predictable as the brutal and abrupt end of everything else that characterized life in Iran in the context of the engagement with the United States between 1953 and 1979.  Yet despite the predictability of the pathos and endgame to be endured by two young people caught up in one of history’s most memorable tsunamis, Mr. Trimm and Ms. Perris manage to sustain things quite well with this Persian version of Doctor Zhivago.

     It is in the theme and arena of mystery that producer Bahman Nassiri’s production proves most thought provoking.  The Golden Veil postulates a Freemasonic connection to the Islamic Revolution of 1978-79, and specifically brings the uninitiated to an encounter with the Roshaniya Brotherhood of Afghanistan, a mysterious clandestine cult with implied links to Mr. Bush’s Skull and Bones society at Yale University specifically, and global Freemasonry generally.  A brief glimpse of the Roshaniya Brotherhood’s shadowy leader in the film suggests that his identity is one Osama bin Laden.

Noelle Perris as "Layla" a. k. a. Homeira Ashtiani in "The Golden Veil"

     Bahman Nassiri’s thesis appears fatally improbable, until examined in conjunction with academic F. William Engdahl’s analysis of the overthrow of the Shah published in recent years.  There, the latter offers his evidence that Mohammed Reza Pahlavi’s refusal to sign a capitulationist oil concession agreement with British Petroleum in 1978, the silver anniversary of the CIA/British MI6 restoration of the Peacock Throne in 1953, led to the coalescence of the components of a Western-supported conspiracy to jettison its former ally and client. 

     Producer Nassiri’s most impressive initial effort is effectively augmented by his working partnership with Director Terry T. Miller, founder and Lead Producer of A Final Point.  Miller’s considerable skills in past productions range from the Vietnam documentary, Angels from Above, to MTV videos and special projects with the Discovery, History, and Travel channels, and PBS.  The Nassiri/Miller team’s final version of The Golden Veil  would have been an even stronger one with more cinematic time spent examining and developing this critically important angle for the conspiracy theory brought forth.  The George Ball-Zbigniew Brzezinski Working Group on Iran during the Carter Presidency, and the alleged membership of many of its key players in Masonic-oriented secret societies like the Scottish Rite; central banking subsidized NGOs; armament-manufacturing affiliated think tanks; and oil-soaked front groups for Western multi-national energy consortiums, is a Rosetta Stone-like repository for greater understanding of the events of over thirty years ago.  It may potentially provide the pathway for a much anticipated Nassiri/Miller sequel to The Golden Veil, much like Daniel Craig’s  Quantum of Solace evolved from his initial effort in Casino Royale.  Noelle Perris and Ben Trimm would presumably be available for such a production, with their formidable skills and chemistry enhanced by further exploration of the clandestine world’s spider web nexus.

Bahman Nassiri, Producer of "The Golden Veil" a. k. a. "Jaafar"

     This exploration leads inexorably, to dangerous areas for public examination and discussion, especially in cinematic circles and the political milieus of both contemporary America and the largely Los Angeles-based Persian Monarchist expatriate community. 

     Put another way, in the final analysis, what is the relationship between Freemasonry and the House of Rothschild?  Is not the House of Rothschild what ultimately stands behind British Petroleum and the Anglo-Iranian Oil Company (AIOC) of by-gone days?  What was Mohammed Reza Pahlavi really thinking of in his interview with Mike Wallace on 60 Minutes in 1976?  Did he have a premontion of who and what was really behind what was coming?

     Historically, an examination of this poker-hot question returns the investigator to the year 1770, when Mayer Amschel Rothschild drew up plans for the creation of The Illuminati.  Rothschild would commission Ashkenazic Jew, Adam Weishaupt (posing as a Roman Catholic), to organize and develop this Talmudic-oriented ideology and organization.  The Illuminati, or “keepers of the light,” would dedicate itself to the infiltration of institutions worldwide, beginning with Freemasonry.  Rooted in the doctrine of Jewish racial supremacism by divine right, the infiltration of the worldwide Masonic movement with Illuminist teaching was ultimately designed to divide non-Jews globally through subversive political, economic, social, and religious means.  The endgame is the end of sovereign nation-states and the implementation of One World Government .  The weapon of choice in this war as David Ben Gurion understood, is the Zionist Enterprise and its control of international central banking, secret societies, corporate news media, and purchased politicians.    The Hidden Hand in currency manipulations, assassinations, the perfectly timed coup d’etat, and false-flag incidents leading to war, flies the Rothschild Red Hexagram at full-mast.  This is truly The Golden Veil of the Globalist Conspiracy. The Roshaniya Brotherhood in Afghanistan is not itself The Hidden Hand, but only one of the latter’s many lethal tools available in an arrow-laden quiver.

     Hence the irony and paradox inherent in it all. The alliance of present day-Persian Monarchist leaders with the Israeli Lobby and its corporately financed American Neo-Conservative agents, is a booby-trapped scenario destined by design to destroy both Iran and the United States as independent nation-states with treasured histories and cultures.  As was the case with the French Revolution; the Bolshevik Revolution in Russia; two World Wars in the 20th century; the Islamic Revolution in Iran in the late 1970s; the Iran-Iraq war of 1980-88; and the present day Bush-Obama War on Terror, the alliances continue shifting, the clandestine world continues its darkening, the front groups continue their proliferation, and the deceptions continue deepening in a pathway leading to Sheol.

     The Golden Veil is on to something pivotal, even if understood only as the genesis of a longer and more perilous journey .  Bahman Nassiri’s admirable hunt for the truth, with his own tragic autobiography only hinted at in his first film enterprise, needs to continue. 

     There is but one other caveat.  The Golden Veil is an understandable apologetic for the Pahlavi regime, given the life history of its fine producer.  In a sequel, Mr. Nassiri would be well served by undertaking  a closer examination of the historical complexities and downside of that dynasty, as chronicled in Dilip Hiro’s The Iranian Labyrinth.  Concurrently, American conservatives could stand a more critical examination and analysis of The American Empire, in the latter’s true intent, methods, and alliances. 

     The result may be the final and fitting death of many mythologies on all sides of the equation.  And as The Golden Veil so states from the outset, “In Love, Death is Only a Pause.”

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