By Paul Joseph Watson
An anti-Muslim film that has been blamed for the attacks on U.S. embassies in Egypt, Libya and Yemen is likely a contrived fraud designed to stir up unrest in the Middle East while shielding the true reasons behind the murder of Ambassador Chris Stevens.
A trailer for the film, entitled The Innocence of Muslims, has been on You Tube for over two months. Despite the alleged film maker’s claim that the movie was funded by rich Jewish donors to the tune of $5 million dollars, it has all the quality of a low budget film school project. The trailer has now been banned in several middle eastern countries, including Egypt and Afghanistan.
Indeed, the full film itself may not even exist, a doubt that has also been shared about the existence of its shadowy director Sam Bacile, who told the Associated Press this week that he was a 56-year-old “Israeli Jew” who lives in California, despite telling actors on set that he is Egyptian, while others have claimed he is an American.
Bacile claims he made the film to illustrate how “Islam is a cancer, period.”
However, numerous authorities have failed in attempting to locate a ‘Sam Bacile’ residing in California. Bacile is likely a pseudonym for the only real person who has been positively connected with the movie – Nakoula Basseley Nakoula, a 55-year-old Coptic Christian living in California who was convicted for federal bank fraud in 2010.
The movie itself – or the 14 minutes of it which have been released – is also highly suspect. Actors involved in filming were told “they were appearing in a film about the life of a generic Egyptian 2,000 years ago.” Following the attack on the U.S. Consulate in Benghazi, all 80 cast members put out a joint statement stating that they were misled by the producer.
“The entire cast and crew are extremely upset and feel taken advantage of by the producer. We are 100% not behind this film and were grossly misled about its intent and purpose,” the statement says. “We are shocked by the drastic re-writes of the script and lies that were told to all involved. We are deeply saddened by the tragedies that have occurred.”
The film has been purposely dubbed and edited to elicit maximum outrage from Muslims. The Prophet Muhammad is depicted as a pedophile, a homosexual, a religious phony, a philanderer, a womanizer and a bloodthirsty dictator.
During dialogue, the actors words have been crudely dubbed to include references to Muhammad that were not in the original script.
As Cindy Lee Garcia, an actress involved in the movie, told Gawker, “In the script and during the shooting, nothing indicated the controversial nature of the final product. Muhammed wasn’t even called Muhammed; he was “Master George.”
“The words Muhammed were dubbed over in post-production, as were essentially all other offensive references to Islam and Muhammed,” writes Adrian Chen.
For example, at 9:03 in the trailer, the words “Is your Muhammed a child molester?” are heard, yet the actress’ voice has been dubbed as her lips do not form the word “Muhammed”.
As the Christian Science Monitor summarizes, the film looks like, “it could have been ginned up by someone sitting a basement with cheap dubbing software.”
Everything about the movie suggests it was a contrived fraud to artificially manufacture unrest in the middle east at a time where speculation that the U.S. and Israel are about to launch military interventions in Iran and Syria is rife.
The amateurish nature of the film may be a ruse to deflect suspicion away from its true purpose and the real identities of its creators.
“Those sniffing the air properly smell some sort of intelligence/influence operation in the whole situation,” writes Daniel McAdams, comparing the film to Kony 2012. “A purposely bad cover for what happened in Benghazi yesterday? A badly done attempted cover for what happened yesterday? Arabs — even Muslim Brotherhood — looking to score points by blaming “wealthy Jews” for making the film? A power struggle between Islamist factions in Egypt? Israelis attempting to make it look like Arabs made a crudely anti-Semitic cover story for a crude film?”
What’s known for sure is the fact that the establishment media has seized upon the movie as an excuse to explain away the attacks on the embassies in Cairo and Benghazi as just another instance of extremist Muslims getting riled up over nothing in particular.
Subsequent reports confirmed that the attacks were coordinated well in advance of the release of the Arabic version of the trailer this week and had nothing to do with the film, but the media immediately ran with that narrative.
This conveniently disguises the true narrative behind the attacks, which is the fact that the United States and other NATO powers are seeing their chickens come home to roost having armed and empowered Al-Qaeda affiliated Islamic extremists in pursuit of regime change, most notably in Libya where the removal of Gaddafi was achieved via NATO’s support for the Libyan Islamic Fighting Group – which is listed as a terrorist organization by the State Department and was responsible for killing U.S. troops in Iraq.
Given that these same militants are now being used by Gulf states and NATO powers in a bid to topple President Bashar Al-Assad in Syria, their connection to the embassy attacks must be downplayed. This was evident when NATO stooge Ali Aujali, Libya’s Ambassador to Washington,ludicrously claimed that Gaddafi loyalists were responsible for killing Ambassador Stevens.
With embassies in Yemen, Tunisia and other countries now coming under siege, the mass media’s promotion of what would otherwise have been an obscure, ineffectual and downright laughable 14 minute You Tube trailer has now created a crisis that threatens the stability of the entire region.
The bizarre circumstances behind The Innocence of Muslims, its shadowy creators and the deliberate attempt to manipulate the film to offend Muslims clearly suggests that the whole farce was a contrived set-up to inflame tensions in order to justify an acceleration of U.S., Israeli and NATO aggression across the Middle East and North Africa.