Giulio MeottiThe writer, an Italian journalist with Il Foglio, writes a twice-weekly column for Arutz Sheva. He is the author of the book "A New Shoah", that researched the personal stories of Israel's terror victims, published by Encounter and of "J'Accuse: the Vatican Against Israel" published by Mantua Books.. His writing has appeared in publications, such as the Wall Street Journal, Frontpage and Commentary.
Perhaps it was the excessive display of affection by the mother Zoulika (“Mohammed was a good boy”), while showing the photographs of her son inside the great mosque of Damascus and in front of the al-Aqsa mosque in Jerusalem. “Regarde comme il est beau!”, look how beautiful he is, repeated the mother of the terrorist.
Perhaps it was the image depicting the terrorist as a child while hugging a toddler.
Perhaps it was the interview with the sister of the killer in her burqa (“I am proud of my brother who fought till the end, not afraid to die, I hate the Jews”).
Perhaps it was the interview with the psychologists who have tried to “humanize” the path of jihad.
For the relatives of the Jewish victims of the Ozar Hatorah school in Toulouse. that film was too much, and they tried in vain to stop the streaming by the French Channel 3 of the documentary “Affaire Merah: itinéraire of a tueur”.
This shameful documentary, produced one year after the massacre in Toulouse and Moutaban, erases the names and the voices of the Jewish victims, but tells with guilty condecension the story of Mohammed Merah, who killed a rabbi, three Jewish children and three French soldiers of Islamic origin.
The documentary follows Merah to the Middle East and Pakistan, but mostly it tells the story of an Arab boy full of problems, raging with a scooter in the streets and jailed for delinquency.
The same media fabricated the story of Mohammed al Dura as a little martyr of Israel's “occupation”. The same French culture from the city of Bezons, a suburb of Paris, just granted honorary citizenship to Majdi Rahima Rimawi, the terrorist who was sentenced to life in prison for the assassination of then-Tourism Minister Rehavam Ze'evi.
France honored the murderer of an Israeli government cabinet minister.
The film shows a school document explaining that the family situation is “harmful” to Merah. The goal is to banalize, relativize and ultimately exculpate the killing of innocent Jews in the heart of Europe.
The movie is not about four Jews slaughtered on French soil for being Jews, but it is about a “difficult” Muslim boy and the failure of the French intelligence.
“There is a kind of indecency and obscenity in giving the stage to the people closest to Merah”, said relatives of the Jewish victims of Toulouse.
In the film by Jean-Charles Doria, Merah's mother denies that her family has ever talked about jihad or killing the Jews. The reference is to counter a declaration of one of the brothers of the terrorist, Abdelghani Merah, according to which “Mohammed grew up in an atmosphere of anti-Semitism. My mother always said: 'We Arabs are born to hate the Jews.' I heard this speech during my youth”.
The docufilm puts the family of the killer and families of the victims on the same level, contributing to the writing of the “legend” of Merah who has become a symbol, and now will become a “hero”.
The grandfather of Rabbi Jonathan Sandler slained in Toulouse, Samuel Sandler, said that Merah's “mentors” are still out there in the French suburbs, “ready to take further action.” A similar complaint came from Latifa ibn Ziaten, the mother of one of the soldiers killed by Merah in Mountaban. The woman reported that the terrorist is already a “hero” for many French Muslims.
Then came the shocked complaint by Jacques Beres, co-founder of Medecins Sans Frontieres, returning from Syria, where he was responsible for the victims of the civil war. Speaking with some fighters who flocked to the country to fight the Assad regime, he said that many call themselves “admirers of Merah”.
A year after the massacre of Toulouse, in the “Douce France” (Sweet France) there is a guilty silence about the families of the murdered Jews in the Chabad school, for example the beautiful child, Miriam Monsenego. The director Alexander Arcady wrote an open letter to the press after the release of the film on Merah: “Pourquoi les bourreaux fascinent davantage que les victimes?”. Why do the killers fascinate more than the victims?
Gradually, Toulouse’s responsibility is shifting, the murderer is “a problematic boy”, liberals indict the entire “repressive society”, et voila, the perpetrator becomes the real victim and the victims the real murderers (Jews, Zionists, murderers of Palestinain children, they got what they deserved).
Toulouse, the city of Jean Calas, defended by Voltaire; the city of my friend Robert Redeker, who since 15 November 2006 has been the victim of several fatwas which forbade him to teach in the schools just because he penned a brave article on Islam; the city where Vladimir Jankélévitch was banned from teaching by the anti-Semitic Vichy; the city where the Epicurean philosopher Vanini was put to death; the city where an entire region, the Languedoc, suffered the crusade against the Albigensians; and now Tolouse, the city symbolic of resistance to any totalitarian ideology, has become the symbol of a new pogrom on Europe's soil.
Miriam Monsonego and the Sandlers have been killed twice. First by Mohammed Merah. Then by the sickening French hypocrisy.
It seems that these Jews perished without having existed.