The Chicago 7 trial is a Jewish story

Andrew Joyce reviews a Netflix movie:

Richard Nixon was wrong when he assumed that every member of the Chicago 7 was Jewish, but he was close enough. The 1969 trial of seven leftwing activists for inciting a riot at August 1968’s Democratic National Convention was an intensely Jewish moment in American history. Of the seven activists on trial, three were Jews (Abbie Hoffman, Jerry Rubin, Lee Weiner), and a further two (Tom Hayden and David Dellinger) lived their lives in a heavily Jewish milieu and dedicated themselves to Jewish causes. The judge in the trial, Julius Hoffman, was Jewish, as were both defense attorneys (William Moses Kunstler and Leonard Weinglass) and one of the prosecutors (Richard Schultz). ...

These shambolic events of 1968/9 have now been disinterred for Netflix’s propagandistic and revisionist account of the episode, The Trial of the Chicago 7, in which Jewish writer/director Aaron Sorkin attempts to refashion its “lessons” for application in Trump’s America. The result is both historically disingenuous and artistically bland. ...

As The Times of Israel has noted, the film represents a trial bleached of its intensely Jewish qualities. I’ve written previously that the 1960s New Left was indisputably a Jewish subculture. Jerry Rubin, given no backstory in Sorkin’s film, had “solidly Jewish roots” and after receiving his baccalaureate “he attended Hebrew University and later returned to Israel to spend a year there with his brother.” ...

Rubin stated that in forming the ‘Yippie’ movement he had “dropped out of the white race and the Amerikan [sic] nation.”[2] Rubin believed that Jews in particular were “obligated to resist the fascism of whiteness.”[3]

He was motivated by narcissistic notions of Jewish moral superiority, indicating a strong identification with his fellows Jews. ...

None of this is probed in the film, which altogether dodges the prospect of exploring Jewish radicalism in the New Left. What is offered instead is a watered down, ethnically ambiguous, court procedural designed to act as a feel-good movie for comfortable, immature, middle-class leftists who daydream about sticking it to an image of “the Man” that hasn’t had any relevance for over 50 years.

I am not saying that the movie is Jewish propaganda, as it makes the Jewish judge look very bad.

Still, this story should be understood as a Jewish story about Jewish leftists. And a story that has been fictionlized to suit the political aims of the Jewish movie makers.