No, it’s not a thrilling new Nicolas Cage movie. This is the premise of right-wing conspiracy theorist Dinesh D’Souza’s recently released documentary “Hillary’s America: The Secret History of the Democratic Party.”
The film opens with a montage map of the U.S. going up in flames. A close-up shot of Hillary Clinton melodramatically draws the scene to a close.
D’Souza’s film would have been more appropriately named had it been called “The Dinesh D’Souza Story.” He uses his 2014 conviction for violating federal campaign finance laws as evidence of a corrupt system in which powerful Democrats act as “Big Brother” in a present-day Orwellian nightmare. In intense Hollywood-style reenactments, D’Souza portrays himself as a silenced hero, a political prisoner of “The Man.” We witness his trial and his arrival at the halfway house where he was “imprisoned” for his eight-month sentence.
In these scenes, D’Souza is confined to what appears to be the most dangerous halfway house in the world. It is here that he is torn down only to be reborn like Malcolm X, ready to take on the world with his new philosophy absorbed from the violent criminals that surround him.
According to the filmmaker, the indictment against him was cooked up by the Obama administration to punish him for his 2012 documentary “Obama’s America.”
“If you make a film criticizing the most powerful man in the world,” he says, “expect the empire to strike back.”
At this point, take note that D’Souza has compared Clinton to the villain from National Treasure, Obama to Darth Vader, and portrayed himself as a Malcolm X–type figure.
The next hour of the film is dedicated to D’Souza’s claim that the Democrats were responsible for slavery and that they continue to knowingly perpetuate the oppression of inner-city black families. At the center of his message is the concept of “urban plantations.”
“What they did was they figured out a way to recreate the plantation. In Oakland, in Detroit, in St. Louis, in Chicago, in Dallas, and so we have these very precarious neighborhoods, very difficult places to live. Imagine being a black kid growing up in Oakland,” he says.
Of course, it is essential to recognize that D’Souza was never a black kid growing up in Oakland, nor is he a black man living in poverty now. This fact is especially important to remember when considering his next point, which is that racism has precipitously declined and that African Americans are spreading lies and propaganda about their own situations.
“The strange thing about this – I find this to be particularly true with young people – they are fed an uninterrupted diet of propaganda about racism, even though none of them either experience it or practice it,” he says. He blames this so-called false sense of oppression on his belief that blacks are so dominant in the media and entertainment world.
Because of this, he says, “there is a picture of America out there that’s not the same as the real America.”
So, which is it, Mr. D’Souza? The racist Democrats are perpetuating the systemic oppression of African Americans, or black communities and the liberal media are exaggerating the extent of racial discrimination?
This inconsistency in his documentary (and philosophy in general) should be enough to discredit D’Souza, but his target audience probably won’t bat an eye.
D’Souza’s critics can find a wide range of reasons to dispute his legitimacy, including his criminal record. Angry that he was caught in a shady financial scheme, the embittered political pundit cast the blame onto anyone but himself.
There are also the ludicrous claims he makes in the film, including the idea that Hillary welcomed or even encouraged Bill’s womanizing because it gave her the power to control him. He even goes so far as to (loosely) connect both Clinton and Obama to Al Capone and the mob.
Truthfully, it doesn’t take much to see that D’Souza is nothing more than an over-zealous cult believer of the anti-Hillary propaganda that he is spreading. Even his website is an uninspired hack job, which isn’t doing him any favors in a world in which nearly half of all people rely on a brand’s web design as their number one criterion for determining credibility.