Adam’s Rib: The Deep Roots of Masonic Jewish-Gay Subversion


The main message of the movie 
is that “man is evil and weak, 
and woman is strong and virtuous, 
so women don’t need men”.
Because of their media control, society is unaware that Masonic Jews (Communists) and their homosexual helpmates have been subverting Western society for more than a hundred years. Adam’s Rib,(1949), written by Jews and directed by a homosexual, made men and women deny their gender identity.
How many millions of lives were ruined by this satanist  social engineering?How many marriages broken? How many children grew up without fathers? How many women without husbands? Men without wives? These evil bastards continue to sabotage society today.
by Anon
(Abridged by 
Why am I writing about a movie from 68 years ago that most people have forgotten?  Because it shows that the Golden Age of Hollywood was not really “sweet and innocent” at all.  It helps to answer the questions “how was our society destroyed?” and “where did it begin?”


Adam’s Rib is a feminist gender bender movie from 1949.   Notice that the title is Biblical but the movie is Anti-Biblical. This tricked conservatives into thinking that it was a safe movie to watch.
The plot involves a woman who shoots her unfaithful husband and puts him in critical condition but is found “not guilty” by a court of law.
[Echoes of Chicago]
A lawyer (Spencer Tracy) is assigned to represent the man in court.   His wife (Katherine Hepburn), instead of supporting her breadwinning husband who lavishes her with gifts, thinks it is fun to compete with her husband and to ridicule him in court. “Ridicule is man’s most potent weapon” -radical communist Saul Alinsky.
The lawyer’s reaction is to yell “I wanted a wife, not a competitor!”
His liberal wife does not cook, clean, nor raise any children.   She spends her time drinking, smoking, and going to fancy restaurants.  And insulting and goading her conservative husband whenever he disagrees with her.
When her husband gives her a fancy hat, she gives it away to her client accused of attempted murder.
She effortlessly gets a job as a lawyer on a whim.
Although the accused woman shoots her husband, she is portrayed as a “good-hearted victim” who was protecting her family, while her cheating husband is portrayed as a selfish boor who never mentions his children once.


The victim of the shooting is mocked by transforming into a woman.
All men in the film are mocked except for an effeminate songwriter.
The cheating husband is played by Tom Ewell, who would continue his promotion of adultery in The Seven Year Itch with Marilyn Monroe six years later, in 1955.
During the court testimony in Adam’s Rib, we hear that the accused beats her husband as often as he beats her. Even in abuse, they are portrayed as equals.
As the lawyer’s wife gives him a massage, she slaps him.  But when he gives her a massage and slaps her, she is offended.  There are two sets of rules:  Although they are “equals”, she can do things that he is not permitted to do.  “Some are more equal than others” -George Orwell.
When the lawyer’s wife asks the jury to picture a role reversal, two women morph into effeminate men and the man morphs into an ugly woman. All three are shown dressed in drag, promoting transvestism and transgenderism.
At the beginning of the movie, women had cried repeatedly to manipulate men.   By the end of the movie, the man turns on the tears to manipulate his wife. Their roles have been reversed.
Throughout the movie, a neighbour plays the song “Farewell Amanda” on the piano, foreshadowing the couple’s eventual split up and divorce proceedings.
The song was written by homosexual occultist Cole Porter (Scroll and Key).   The effeminate piano-playing joker in the movie is a dead ringer for Cole Porter, too.   He mocks the husband at every opportunity and hits on his wife right in front of him.   The husband lets it go.   He is too weak to defend his wife.
In the final scene, the angry husband points a gun at his wife and her effeminate male lover.
The male lover cowers in fear behind the wife as she shields him.
The husband bites into his licorices gun.   He has proven that a pre-meditated gun attack would not be a justifiable “crime of passion” after all.


When Katherine Hepburn states that men and women are “exactly the same”, Spencer Tracy says “Well, not quite exactly”.  In other words, men and women are identical except for their physiology.
Both the lawyer and his wife call each other “Pinky”, hardly a manly moniker.   Once again they are portrayed as almost identical equals.
The husband is continually made to look like a fool.   He jumbles his lines, he bumps his head, and he gets lifted in the air by a woman in court who is clearly much stronger than he is.   Everyone thinks it is hilarious. “A good tactic is one your people enjoy” -Saul Alinsky.
The smartest person in the movie is another woman in court who has endless degrees and credentials.
Yet he outsmarts his wife in the end – twice.   Once by pointing the licorice gun at her to prove he was right in court, and again when he cries his way out of a divorce proceeding.   He is no dummy.
This movie always gets a high rating from critics.   It is well-acted, full of humour, and it makes you think.   However, morality is never taken into account in their ratings.   If it was, Adam’s Rib would rate a zero.
The main message of the movie is that “man is evil and weak, and woman is strong and virtuous, so women don’t need men”.
It is almost as if Spencer Tracy’s character in Adam’s Rib represents God of the Bible, and the secular crowd mocks him and are unthankful for his gifts.
Adam’s Rib mocks conservative values and glorifies liberalism, much as All in the Family would do 22 years later, starting in 1971.


The Luciferians, the communists, and in more recent years Hollywood, have been fomenting this “Battle of the Sexes” for hundreds of years.   It is a cornerstone in their “divide and conquer” tactic.   What else would you expect from Hollywood, the land of immorality propaganda?
Adam Weishaupt, founder of the illuminati, wrote:
“There is no way of influencing men so powerfully as by means of the women. These should therefore be our chief study; we should insinuate ourselves into their good opinion, give them hints of emancipation from the tyranny of public opinion, and of standing up for themselves;
it will be an immense release to their enslaved minds to be freed from any one bond of restraint, and it will fire them more, and cause them to work for us with zeal, without knowledge that they do so, for they will only be indulging their own desire for personal admiration.”
This undermining of Godly morals and traditional families is essential for the luciferian globalists to replace God with lucifer, demoralize society, and set up a New World Order dictatorship.  “The family is enemy number one,” said satanist Aleister Crowley.
Yes, we were programmed to accept feminist gender bending and immorality a long time ago, as this movie from 1949 aptly illustrates.
RelatedA Streetcar Named Desire – Another Liberal Jew-Gay Co-Production
First Comment by Dan:

Katherine Hepburn’s mother was the chair of the Connecticut Woman Suffrage Association and personal friend of Margaret Sanger.  At the root of it all, Feminism is merely an arm of Fabian eugenics for the underclass.


(Left, Hep. ‘Manspreading.’)
Back in the day she and Spencer Tracy carried on a torrid ‘on and off’ relationship officially.  My grandmother told me all about it when I was growing up in the ’60’s’.
With hindsight I now believe their ‘illicit relationship’ was a public relations script like most Hollywood heterosexual pairings.  I believe that, because their ‘real life’ dynamics was exactly the same as this movie.  In ‘real life’ Tracy was said to be brooding depressive alcoholic that didn’t have the nerve to divorce his wife, with Hepburn as the devoted but entirely independent ‘other’ woman that was stronger than him.  Hepburn was a role model to the generation of ‘Rosie the Riveter’ women that worked in the defense plants during WWII.
Hollywood has been nothing but social engineering from the beginning.
 James Perloff writes:
Very glad to see this post, as it’s important to know how we’ve been culturally scammed throughout history. I remember ADAM’S RIB very well, how I despised Katherine Hepburn’s obnoxious feminism while I also undeniably laughed at the film’s well-crafted humor. Hollywood’s social engineers know that QUALITY SELLS, and will spare no expense or talent to communicate a “new normal.” This is why the first film to use the words “bitch” and “sperm” wove them into a riveting courtroom battle between George C. Scott sand James Stewart (1959’s ANATOMY OF A MURDER), and the first movie to display naked female breasts were in Rod Steiger’s career performance (1965’s THE PAWNBROKER). Each time a “new normal” got past the censors on the pretext that “great art must not be suppressed,” there was no turning back. Older movies seem attractive to us now because they nostalgically convey the more virtuous climate of the past, but within each time period, Hollywood was always boiling the frog toward greater immorality.