Final_Judgment

[284] Final Judgment 345
Who is Arnon Milchan? Why is his name relevant in our examination
of the facts about Israel's role in the JFK assassination conspiracy and the
manner in which Oliver Stone has suppressed that critical factor?
According to liberal journalist Alexander Cockburn, writing in The
Nation on May 18, 1992, Milchan, the executive producer of JFK, "was
identified in one 1989 Israeli report as 'probably [Israel's] largest arms
dealer.' A company he owned was once caught smuggling nuclear weapons
fuses to Iraq. As part of a joint Israeli-South African government operation—
`Muldergate'—he acted as launderer to money scheduled to quell liberal
publications opposing apartheid." 762
Israeli historian Benjamin Beit-Hallahmi, who has studied Israel's
global arms trading, does describe Milchan as a "Mossad man." 763 However,
in light of JFK's behind-the-scenes battle with Israel over the issue of
Israel's nuclear development, what is perhaps even more intriguing is that,
according to James Riordan, Oliver Stone's biographer: "Milchan has been
in the international headlines for making deals to benefit Israel's nuclear
arms program, but he claims defense of his homeland, not profit, has been
his motive." 764
But that's not all. It also turns out, according to Riordan, that Milchan
made available what Riordan described as "French money" 765 for the
production of Stone's film.
Thus, we have a Mossad figure in the center of Israel's nuclear
development program providing the financing—along with his French
partners—of a film that not only 1) suppresses the so-called "French
connection" (described even by one of the film's consultants, the
aforementioned Ron Lewis) but which 2) never once hints at JFK's bitter
conflict with Israel, in particular the struggle over Israel's drive to assemble a
nuclear arsenal.
A 'LIMITED HANGOUT' HOLLYWOOD STYLE?
With all of this in mind, is it really a stretch of the imagination to
suggest then that Oliver Stone's "interpretation" of the JFK assassination
conspiracy was, in fact, a highly sophisticated form of black propaganda
financed by Mossad money? Was the massive media hype given to Stone's
film some form of "limited hangout" on behalf of Israel and its allies in the
CIA? Was the widespread promotion of Stone's film a way of finally
attempting to put an end to the controversy and give the public what it
wanted: some form of explanation as to "what really happened" in Dallas?
This, of course, we will never know.
It is probably worth noting, additionally, that since Final Judgment was
first published I have been told—but have never been able to confirm—that
Oliver Stone has been a generous contributor to the America-Israel Public
Affairs Committee, the lobby for Israel. If true, then this is simply another
interesting detail which helps further explain why Stone might choose to
ignore all of the evidence which does demonstrate a definitive Israeli
connection to the assassination of John F. Kennedy.