Dinesh D'Souza's 'Death of a Nation' Is a Masterful Win for Conservatism
This article was sponsored by “Death of a Nation.”
Filmmaker Dinesh D’Souza’s latest political documentary “Death of a Nation” — due in theaters August 3 — is his best film to date in the arena he has created for himself as the conservative answer to Michael Moore.
In the movie, D’Souza makes the provocative and convincing case that contrary to leftist proclamations, it is the Democratic Party in the persons of leaders like Sens. Bernie Sanders and Elizabeth Warren, not Donald Trump, that shares shocking similarities to fascist movements in the past, including Germany’s National Socialist Workers Party, otherwise known as the Nazis.
The film opens with a bit of misdirection recreating the closing scenes of Adolf Hitler’s Third Reich in the spring of 1945.
The viewer knows there is no way D’Souza has made an ode-to-Nazidom movie, but it is attention-grabbing nonetheless.
The opening is an entrée to address how Hitler came to power.
D’Souza ticks off the elements of the 1930s Nazi platform including state-controlled health care, profit sharing for workers at large corporations, state control of banks and industries, state control of religious expression, state control of education and the state control of the media.
“This reads like something jointly written by Elizabeth Warren and Bernie Sanders. Read the Nazi platform at the Democratic National Convention and most likely it would provoke thunderous applause,” the best-selling author contends in the film, which is based on his books “Death of a Nation” and “The Big Lie.”
D’Souza notes that Democrat icon Franklin Roosevelt and Hitler ascended to the top office in their respective countries in the same year, 1933, with both thinking of themselves as progressives committed to using the instrumentalities of the state to reshape the economy and the society as a whole toward fairness as they defined it.
The result in both cases was to make the citizens far more dependent upon and controlled by the central government.
In contrast, Trump stands for policies at the opposite end of the political spectrum.
The uniting theme of the Trump administration has been less government control, whether through cutting regulations, lowering tax rates, or promoting religious freedom.
“As a progressive, Hitler despised religious liberty. Nazism was his religion,” D’Souza said.
He goes on to draw parallels between the politically correct driven attacks on freedom of speech on America’s college campuses today (sometimes to the point of violence) and the Nazi’s philosophy of shutting down freedom of thought and expression in German universities in the 1930s.
D’Souza also highlights the Democratic Party’s sad history of robbing peoples’ freedom in the U.S., whether through its support of slavery in the 1800s and segregation in the 1900s, or its exploitation of immigrants through the patronage system in the big cities in the late 19th and early 20th centuries.
The former Reagan administration official argues the same exploitation of minorities to gain and retain power continues to this day.
Many commentators have noted that the Democrats held the presidency, the House and a filibuster-proof majority in the Senate during Barack Obama’s first term, yet did nothing to address immigration reform to the disbelief of Hispanic groups.
For some observers, it seemed Democrats wanted to keep the political issue alive.
In 2012, just months before his re-election bid, Obama strengthened that argument when he announced the Deferred Action on Childhood Arrivals Program (which he had said a few years before he had no authority to do).
D’Souza first made waves at the box office in 2012 with his most successful film to date, “2016: Obama’s America.”
In it, he warned of the 44th president’s vision to “fundamentally transform” America into something liberty-loving citizens would not recognize.
In 2014, the Obama administration’s Justice Department charged D’Souza with breaking campaign finance laws, to which he pled guilty and was sentenced to serve eight months in a detention center, five years probation and pay a $30,000 fine.
Trump pardoned him in May.
“Death of a Nation” is in the mold of “Obama’s America,” but D’Souza’s filmmaking skills have increased significantly since his first offering.
Once again, legendary Hollywood producer Jerry Molen (“Jurassic Park,” “Schindler’s List,” and “Minority Report”) is on board for the project.
Trump is clearly the hero of their latest work. D’Souza sees the former New York businessman/reality television star as an inheritor of the Ronald Reagan mantle. Like the Gipper, Trump is leading a free-market-driven economic, pro-America renaissance in the country, benefiting all regardless of race, color or creed.
Reagan makes an appearance near the end of the film driving home its central point: “If fascism comes to America it will come in the name of liberalism. What is fascism? Fascism is private ownership of enterprise, but total government control and regulation. Isn’t this the liberal philosophy?”
He continues, “The conservative philosophy, so-called, is the one that says less government. Get off my back. Get out of my pocket. Let me have more control of my own destiny.”
For D’Souza, Trump is engaged in a fight against dark forces (including the Deep State), with nothing less than the survival of American liberty at stake.
“Death of a Nation” is an informative and engaging ride, that leaves you with a sense of pride for what the United States has stood for, and a sense of urgency to do one’s part to ensure that “government of the people, by the people, and for the people, shall not perish from the earth.”
Find theater locations and times here.
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