On the Beach and the White Australia Policy

On the Beach is a critically acclaimed film starring Gregory Peck and Ava Gardner and directed by Jew social justice warrior Stanley Kramer. Shot on location in Melbourne in 1959, the film takes place in the aftermath of a third world war, the nuclear fallout from which has wiped out most of the world’s population. Australia is one of the few countries the deadly radiation hasn’t reached. A situation that will soon change. Knowing that death is just weeks away, Melbournians and the crew of an American submarine struggle to make the most of the little time they have left.

Whenever I want people to see how much better in every way this country was under the White Australia Policy, I show them clips of On the Beach. The scenes in the Melbourne CBD are the most illustrative. There’s nothing but white people as far as the eye can see. Well-dressed, hard-working, law-abiding, nation-building white people. This is in stark contrast to the Melbourne of today, which has been blanketed by the toxic fallout of multiculturalism. Violent crime, terrorism, social fragmentation, and white demographic replacement are now the order of the day. What homogeneity gave us, heterogeneity took away.

Melbourne filmmaker Phil Hagl made a video in which he visits the locations used in On the Beach and compares how they looked then to how they look now. The crowd shots taken in 1959, such as those outside the State Library and in Swanston Street, where Peck and Gardner enjoy an evening stroll (see the second video), show an almost uniformly white population. Not so the footage of present-day Melbournians. Front and center of Hagl’s first shot of the city’s inhabitants is a Muslim woman pushing a pram, swarthy toddler son at her side. White Australia Policy, thou art sorely missed.

Hagl doesn’t show nearly enough people footage from On the Beach to provide a clear comparison of Melbourne before and after politicians rained nuclear missiles on white Australia, but he’s not a  racist, so that was never his purpose. To compensate for this, I’ve posted some additional scenes from the film. No having to play spot the (white) Aussie with these.

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