I must have been 10 years old when I saw Sahara. Unlike my childhood friends I always enjoyed the background music. Forever after hearing Miklós Rózsa’s score for Sahara I could always spot his signature theme in every film he did, and he did many of the big budget blockbusters. Check the list at this link:
Listen to the music of every picture Rózsa scored after Sahara and you will hear a bit of the Sahara Suite . At the risk of planting it in your head here is a short version:
Sahara Suite set me to thinking about the plot for the movie. It was the first, and most successful, propaganda piece about global government. That was two years before membership in the United Nations was ratified.
Many years passed after I saw Sahara before I came to understand propaganda, and how effective it is; i.e. the soldiers from different countries were pulling together.
Hell, they even put a Muslim on the tank —— he was played by Rex Ingram —— the most famous genie in movies.
Sahara proved just how insidious the New World Order crowd was when they advanced their political agenda with modern propaganda tools. Much of the dialogue was right out of the New World Order’s play book —— while everybody else thought they went to the movies to be entertained.
NOTE: You can find a handful of movies that obviously raved about Communism’s ideology fooled no one, while young and old American audiences swallowed the New World Order propaganda in Sahara hook, line, and sinker.
For the record, Sahara’s principal screenwriter was a hardcore Communist:
John Howard Lawson is not the most famous member of the Hollywood 10, those filmmakers who defied the House Committee on Un-American Activities' inquiry into alleged "Communist subversion" in the Hollywood movie industry in 1947, but he was the central figure of the group--the mind if not the heart and soul of the Communist community in Hollywood. One of the founders and the first president of the Screenwriters Guild (now called the Writers' Guild of America), the first and most aggressive of the Hollywood guilds, he was the Communist Party's de facto cultural commissar in Hollywood, particularly as it affected writers. (Indeed, in the Hollywood hierarchy, Lawson arguably was second only to Gerhart Eisler in authority. Eisler was the "boss" of the CPUSA in his role as an agent of the Moscow-controlled Comintern, and thus outranked Lawson, who was not a member of any secret quasi-military organization. When the Party wanted a member to come to heel, Lawson enforced the ukase. Eisler's brother, the film composer Hanns Eisler, was deported from the US after his own 1947 HUAC testimony.) Like the other 10, Lawson would be blacklisted by Hollywood during the late 1940s and through the 1950s.