“RELIGIOUS LIBERTY FOR WHOM?”
Political Correctness and the Coming Death of the First Amendment
Dr. James Hitchcock, a professor of history at St. Louis University, notes some scary trends here and in the rest of the West which bode ill for the survival of freedom of conscience and religion –at least for those whose consciences are religious in orientation.
In his weekly column, titled Religious Liberty for Whom?, Hitchcock cites some examples of how liberal government officials here and abroad have been increasingly trampling on the rights of Christians and other religious people who refuse to walk in lockstep with whatever guilt-and-envy-driven public policy comes down the pike. For example:
In England a crowd assaulted a street preacher who posted a sign saying, "Stop Homosexuality." The police arrived and made an arrest of — the preacher! He was convicted of insulting and harassing behavior. Also in England, an Anglican bishop was investigated by the police after he publicly suggested that homosexuals seek counseling.
and,
Meanwhile the Irish Council for Civil Liberties has warned the Catholic Church of possible prosecution if it promulgates the Holy See’s official statement on "same sex unions.
and,
In Canada a teacher has been suspended for writing a letter to a newspaper saying that homosexuality is immoral. The preacher was being deliberately offensive, and the teacher’s letter no doubt upset many homosexuals among his students.
As for the notion that This Could Never Happen Here in the Good Ol’ USA, don’t be so sure. Hitchcock warns,
“…where homosexuality is concerned, governments are prepared to abrogate civil liberties. The American tradition of free expression so far has resisted these measures, but there are no grounds for complacency. Just outside public view, in books and journals read only by scholars, there are influential American political and legal theorists who openly advocate the restriction of religious liberty, in order to prevent the ‘wrong’ ideas from being circulated. In particular these theorists bluntly insist that parents have no right to inculcate their own beliefs in their children.”
That humming you hear may not be coming from the cicada invasion. It may be Thomas Jefferson spinning in his grave.
"Any questioning of the moral ideas that prevail ...is received with the utmost hostility.
To attempt such an enterprise is to disturb the peace"
--H. L. Mencken
Thursday, June 10, 2004
TED RALL vs. THE FIRST AMENDMENT:
Far-Left Cartoonist Takes a Page from the Church of Scientology’s Law Book
One of the more interesting aspects of Looney Left “journalist” Ted Rall’s character (see our June 9 post on Rall, “Attack of the Girlie-Men,” below) seems to be how he handles criticism, including when it comes from a colleague in the form of parody.
In 1999, fellow editorial cartoonist Danny Hellman poked scathing fun at Ted Rall for the latter’s strange Village Voice article defaming noted Jewish cartoonist Art Spiegelman, author-illustrator of Maus, a creative psychological exploration of his Holocaust survivor father’s life under the Nazis. Apparently sick and tired of Rall’s narcissistic rants in general, Hellman set up an e-mail list of his fellow cartoonists to whom he sent out a few over-the-top “letters,” using the internet ID “TedRallsBalls,” satirizing Rall’s writings, style, and personality.
One of those on Hellman’s e-mail list was Rall himself.
Now, any normal adult would merely laugh off such antics and take them like a mensch, especially someone who seems bent upon making a public figure of himself. But not Ted Rall, for whom the words “normal” and “adult” apparently hold little or no meaning.
Instead, Rall seems to have followed the example of late paranoid cult leader L. Ron Hubbard, the founder of the Church of Scientology. Hubbard’s cult, as cult watchdog groups well know, takes as kindly to criticism as Rall seems to, especially when it comes from the media. For example, in 1986 Time magazine published a lengthy, well-documented expose of Hubbard’s “church” titled “The Cult of Greed and Power,” in which it detailed the long checkered history of Hubbard’s shenanigans as well as several Federal crimes which had been committed by some of Hubbard’s top lieutenants, for which they ended up in a big house, courtesy of Uncle Sam.
The “church’s” reaction to the story? Following its decades long tradition of “handling” critics, it sued Time magazine for “libel.” After years of legal battling with the “church’s” in-house lawyers (who seem to outnumber its ministers) and spending millions of dollars defending its First Amendment rights, Time managed to get Scientology’s case thrown out of court as a SLAPP (“strategic litigation against public participation”) suit, a tactic of intimidation-via-litigation used by wealthy corporations to silence public dissent.
Like the Church of Scientology, Ted Rall responded to Danny Hellman’s criticism by suing Danny Hellman for libel, and –get this!— to the tune of 1.5 millions dollars. However, unlike the Hubbard cult, Rall thinks of himself a “journalist.”
Not even the Church of Scientology is that out of touch with reality.
Far-Left Cartoonist Takes a Page from the Church of Scientology’s Law Book
One of the more interesting aspects of Looney Left “journalist” Ted Rall’s character (see our June 9 post on Rall, “Attack of the Girlie-Men,” below) seems to be how he handles criticism, including when it comes from a colleague in the form of parody.
In 1999, fellow editorial cartoonist Danny Hellman poked scathing fun at Ted Rall for the latter’s strange Village Voice article defaming noted Jewish cartoonist Art Spiegelman, author-illustrator of Maus, a creative psychological exploration of his Holocaust survivor father’s life under the Nazis. Apparently sick and tired of Rall’s narcissistic rants in general, Hellman set up an e-mail list of his fellow cartoonists to whom he sent out a few over-the-top “letters,” using the internet ID “TedRallsBalls,” satirizing Rall’s writings, style, and personality.
One of those on Hellman’s e-mail list was Rall himself.
Now, any normal adult would merely laugh off such antics and take them like a mensch, especially someone who seems bent upon making a public figure of himself. But not Ted Rall, for whom the words “normal” and “adult” apparently hold little or no meaning.
Instead, Rall seems to have followed the example of late paranoid cult leader L. Ron Hubbard, the founder of the Church of Scientology. Hubbard’s cult, as cult watchdog groups well know, takes as kindly to criticism as Rall seems to, especially when it comes from the media. For example, in 1986 Time magazine published a lengthy, well-documented expose of Hubbard’s “church” titled “The Cult of Greed and Power,” in which it detailed the long checkered history of Hubbard’s shenanigans as well as several Federal crimes which had been committed by some of Hubbard’s top lieutenants, for which they ended up in a big house, courtesy of Uncle Sam.
The “church’s” reaction to the story? Following its decades long tradition of “handling” critics, it sued Time magazine for “libel.” After years of legal battling with the “church’s” in-house lawyers (who seem to outnumber its ministers) and spending millions of dollars defending its First Amendment rights, Time managed to get Scientology’s case thrown out of court as a SLAPP (“strategic litigation against public participation”) suit, a tactic of intimidation-via-litigation used by wealthy corporations to silence public dissent.
Like the Church of Scientology, Ted Rall responded to Danny Hellman’s criticism by suing Danny Hellman for libel, and –get this!— to the tune of 1.5 millions dollars. However, unlike the Hubbard cult, Rall thinks of himself a “journalist.”
Not even the Church of Scientology is that out of touch with reality.
Wednesday, June 09, 2004
ATTACK OF THE GIRLIE-MEN:
Envy-Ridden “Journalists” Whine One More at the Gipper
German sociologist Helmut Schoeck points out in his book Envy: A Theory of Social Behaviour that envy is "a drive which lies at the core of man’s life as a social being…[an] urge to compare oneself invidiously with others." The envious person is a type of sociopath who, upon comparing him- or herself with another of higher character or greater accomplishment, finds him- or herself wanting. But rather than emulate that other person the envious person will try to destroy him or her, or at the very least in some way bring that person down to their own level.
Thus even before Ronald Reagan's corpse had a chance to get cold, some on the Looney Left, like the stuck-in-adolescence dimwits they seem to be, couldn't wait until after the funeral to vent unrestrained vitriol about the former Prez.
One such example is a shamelessly soul-less narcissist named Ted Rall, who seems bent upon dancing on whatever nearby freshly dug grave will further his career as a "journalist" and editorial cartoonist, and keep his name on the front burner. As noted writer and blogger Mark Shea (compared to whom Rall is an intellectual amoeba) aptly summarizes Rall’s character, “Notice ME! NOTICE ME! NOTICE MEEEEEEEEEE!!!!!”
Rall, some may recall, initially made quite a splash for himself in the mainstream media barely two months ago by publicly denigrating the sacrifice made by the late Pat Tillman --the NFL player who quit pro football and a 7-figure-earning career to serve his country in Afghanistan in the wake of the September 11 terrorist attacks-- and insulting Tillman’s family and friends in the process. Tillman lost his life; it turns out, by friendly fire. Rall's reaction to Tillman’s death, while Tillman's loved ones were still burying him, was to make Tillman the subject of his syndicated cartoon series, in which he calls Tillman an "idiot" and portrays him as a bloodthirsty bigot who wanted to kill Arabs.
Tillman, whined Rall, "falsely believed" the war in Afghanistan was linked to the September 11 attacks and was a "cog in a low-rent occupation army that shot more innocent civilians than terrorists to prop up puppet rulers and exploit gas and oil resources." Contrariwise, however, Rall approved of the cozy relationship the Taliban had with Al Queda while the former were executing women in football fields for showing their faces in public, or going to school, or in other ways displeasing their Mullahs. As for Al Queda's attack on Rall's own town, no doubt he found a way to blame that on Bush. Or perhaps the NFL. Or both.
Similarly, this week, fresh on the heels of Ronald Reagan's death, in his "Search and Destroy" web log and elsewhere, Rall asserts that the late former president must be in Hell "turning crispy brown right about now" for all his alleged "crimes" against humanity --which in Rall's world seems to consist only of gays, liberals, and his buddies in Al Queda and the Taliban. "If there is a hell," Rall says, "this guy is in it." Reagan, Rall declares, "was an idiot" who "elevated unjustifiable military action to an art."
Of course, Rall has not been alone in his envy-ridden denigration of real men like Tillman and Reagan. At about the same time the cyber-ink was drying over at "Search and Destroy," in chimed veteran crank Christopher Hitchens, who, like Rall, seems to relish in bashing his betters. For example, back in the 1990s Hitchens defamed Mother Teresa not only with a nasty character-assassinating book but with an equally nasty character-assassinating "documentary" as well, both sarcastically titled "Mother Teresa and the Missionary Position."
In his June 7 column immediately after Reagan’s passing, the supposedly more-mature-than-Rall “journalist” Hitchens cannot seem constrain his lesser impulses to “memoralize” Reagan by engaging in the same level of scorn and character assassination he leveled at Mother Teresa almost a decade ago. For example,
“…The famously genial grin turned into a rictus of senile fury…”
and
“The fox, as has been pointed out by more than one philosopher, knows many small things, whereas the hedgehog knows one big thing. Ronald Reagan was neither a fox nor a hedgehog. He was as dumb as a stump.”
and
“He had no friends, only cronies. His children didn't like him all that much. He met his second wife —the one that you remember— because she needed to get off a Hollywood blacklist and he was the man to see.”
And
“I could not believe that such a man had even been a poor governor of California in a bad year, let alone that such a smart country would put up with such an obvious phony and loon.”
Thus it's the propensity of envy-ridden girlie-men like Hitchens and Rall to detract real men and any others who are or seem better than they are in some way. But only when it's safe, such as when the latter are dead and the former live in a country kept free by their betters. There can be only one explanation for this sort of conduct on the part of allegedly civilized persons:
Envy.
In response to Hitchens, Shea points out in his web log. one of the “peculiar talents” Americans have is “burying the hatchet.” Shea wistfully wishes that “people like Hitchens” --and Rall-- “would learn it.”
However, it seems they did: But they buried it in Mr. Reagan's back. It’s the only way they know.
Envy-Ridden “Journalists” Whine One More at the Gipper
German sociologist Helmut Schoeck points out in his book Envy: A Theory of Social Behaviour that envy is "a drive which lies at the core of man’s life as a social being…[an] urge to compare oneself invidiously with others." The envious person is a type of sociopath who, upon comparing him- or herself with another of higher character or greater accomplishment, finds him- or herself wanting. But rather than emulate that other person the envious person will try to destroy him or her, or at the very least in some way bring that person down to their own level.
Thus even before Ronald Reagan's corpse had a chance to get cold, some on the Looney Left, like the stuck-in-adolescence dimwits they seem to be, couldn't wait until after the funeral to vent unrestrained vitriol about the former Prez.
One such example is a shamelessly soul-less narcissist named Ted Rall, who seems bent upon dancing on whatever nearby freshly dug grave will further his career as a "journalist" and editorial cartoonist, and keep his name on the front burner. As noted writer and blogger Mark Shea (compared to whom Rall is an intellectual amoeba) aptly summarizes Rall’s character, “Notice ME! NOTICE ME! NOTICE MEEEEEEEEEE!!!!!”
Rall, some may recall, initially made quite a splash for himself in the mainstream media barely two months ago by publicly denigrating the sacrifice made by the late Pat Tillman --the NFL player who quit pro football and a 7-figure-earning career to serve his country in Afghanistan in the wake of the September 11 terrorist attacks-- and insulting Tillman’s family and friends in the process. Tillman lost his life; it turns out, by friendly fire. Rall's reaction to Tillman’s death, while Tillman's loved ones were still burying him, was to make Tillman the subject of his syndicated cartoon series, in which he calls Tillman an "idiot" and portrays him as a bloodthirsty bigot who wanted to kill Arabs.
Tillman, whined Rall, "falsely believed" the war in Afghanistan was linked to the September 11 attacks and was a "cog in a low-rent occupation army that shot more innocent civilians than terrorists to prop up puppet rulers and exploit gas and oil resources." Contrariwise, however, Rall approved of the cozy relationship the Taliban had with Al Queda while the former were executing women in football fields for showing their faces in public, or going to school, or in other ways displeasing their Mullahs. As for Al Queda's attack on Rall's own town, no doubt he found a way to blame that on Bush. Or perhaps the NFL. Or both.
Similarly, this week, fresh on the heels of Ronald Reagan's death, in his "Search and Destroy" web log and elsewhere, Rall asserts that the late former president must be in Hell "turning crispy brown right about now" for all his alleged "crimes" against humanity --which in Rall's world seems to consist only of gays, liberals, and his buddies in Al Queda and the Taliban. "If there is a hell," Rall says, "this guy is in it." Reagan, Rall declares, "was an idiot" who "elevated unjustifiable military action to an art."
Of course, Rall has not been alone in his envy-ridden denigration of real men like Tillman and Reagan. At about the same time the cyber-ink was drying over at "Search and Destroy," in chimed veteran crank Christopher Hitchens, who, like Rall, seems to relish in bashing his betters. For example, back in the 1990s Hitchens defamed Mother Teresa not only with a nasty character-assassinating book but with an equally nasty character-assassinating "documentary" as well, both sarcastically titled "Mother Teresa and the Missionary Position."
In his June 7 column immediately after Reagan’s passing, the supposedly more-mature-than-Rall “journalist” Hitchens cannot seem constrain his lesser impulses to “memoralize” Reagan by engaging in the same level of scorn and character assassination he leveled at Mother Teresa almost a decade ago. For example,
“…The famously genial grin turned into a rictus of senile fury…”
and
“The fox, as has been pointed out by more than one philosopher, knows many small things, whereas the hedgehog knows one big thing. Ronald Reagan was neither a fox nor a hedgehog. He was as dumb as a stump.”
and
“He had no friends, only cronies. His children didn't like him all that much. He met his second wife —the one that you remember— because she needed to get off a Hollywood blacklist and he was the man to see.”
And
“I could not believe that such a man had even been a poor governor of California in a bad year, let alone that such a smart country would put up with such an obvious phony and loon.”
Thus it's the propensity of envy-ridden girlie-men like Hitchens and Rall to detract real men and any others who are or seem better than they are in some way. But only when it's safe, such as when the latter are dead and the former live in a country kept free by their betters. There can be only one explanation for this sort of conduct on the part of allegedly civilized persons:
Envy.
In response to Hitchens, Shea points out in his web log. one of the “peculiar talents” Americans have is “burying the hatchet.” Shea wistfully wishes that “people like Hitchens” --and Rall-- “would learn it.”
However, it seems they did: But they buried it in Mr. Reagan's back. It’s the only way they know.
THE FOUNDING FATHERS GO DOWN THE MEMORY HOLE
A Frightening Trend in "Higher" Education
It seems that university history departments around the US are abondoning study of the Founding Fathers and the American Revolution. As one source notes,
"Two of the leaders in colonial- and revolutionary-era scholarship, Bernard Bailyn at Harvard and Gordon Wood at Brown, are being replaced by historians with no apparent interest in the Revolution and the founding. The same happened some years ago at Yale when Edmund Morgan retired."
If true, this is pretty scary stuff and it just goes to show what can happen when relativism, political correctness, and post-modernism take over a culture.
Read more about it here:
Forgetting the Founding Fathers
A Frightening Trend in "Higher" Education
It seems that university history departments around the US are abondoning study of the Founding Fathers and the American Revolution. As one source notes,
"Two of the leaders in colonial- and revolutionary-era scholarship, Bernard Bailyn at Harvard and Gordon Wood at Brown, are being replaced by historians with no apparent interest in the Revolution and the founding. The same happened some years ago at Yale when Edmund Morgan retired."
If true, this is pretty scary stuff and it just goes to show what can happen when relativism, political correctness, and post-modernism take over a culture.
Read more about it here:
Monday, June 07, 2004
HAIL TO THE CHIEF
Ronald Reagan, Rest In Peace
The USA and the world have lost a great leader, and a very good man.
God bless you, Mr. President. And thank you!
Ronald Reagan, Rest In Peace
The USA and the world have lost a great leader, and a very good man.
God bless you, Mr. President. And thank you!
Thursday, May 13, 2004
MEMO TO THE WEST, POST-NICK BERG:
How to Respond to Islamo-Fascism
The recent mea culpa hand-wringing in the West over the abominable mistreatment of imprisoned Iraqi terrorists and insurgents by rogue American military personnel is as much a commentary on the morally weakened state of the West as it is yet another demonstration of the blindness of the West to an evil which cannot be comprised or negotiated with. Namely, the Islamo-fascist movement, which has no regard for the rule of law and order, as defined in Western civilization and most other civilizations, as it seeks to destroy everything and everyone in its path which does not meet its demented Muslim standards.
This weakness and blindness was made clear by Western responses to the videotaped murder-by-decapitation of Nick Berg --an innocent American contractor helping the Iraqis to rebuild their country-- by a group of Muslim terrorists. Even the Bush administration, which should know better, talks about "bringing" these subhuman thugs "to justice" rather than hunting them down and eradicating them as the destructive vermin they are.
The Bush administration, and the West in general, needs to revive the classical definition of "outlaw" as understood under the time-honored Catholic legal code known as the English Common Law, created by Catholic King Alfred the Great and incorporated into American jurisprudence over 200 years ago:
Under that system, anyone who deliberately placed themselves outside the law by making themselves autonomous ("self-law" or "law unto oneself") also thereby placed themselves outside the rights and protections guaranteed under that law. Hence, they could be hunted down with impunity by anyone and taken "dead or alive" with no guarantee of safe passage, much less a trial. Wikipedia.com puts it this way,
"To be declared an outlaw [under the English Common Law] was to suffer a form of civil death. The outlaw was debarred from all civilised society. No one was allowed to give him food, shelter, or any other sort of support; to do so was to commit the crime of couthutlaugh, and to be in danger of the ban yourself. A person who encountered an outlaw was allowed, and indeed encouraged, to kill them; to do so was no murder. Because the outlaw has defied civil society, that society was quit of any obligations to the outlaw; outlaws had no civil rights, could not sue in any court on any cause of action, though they were themselves personally liable."
Berg's Al Queda murderers, along with the rest of the Islamo-Fascist thugs, are clearly nothing more or less than outside the law, "outlaws" in the original sense of the word. They should be officially declared as "outlaws" and treated as such.
How to Respond to Islamo-Fascism
The recent mea culpa hand-wringing in the West over the abominable mistreatment of imprisoned Iraqi terrorists and insurgents by rogue American military personnel is as much a commentary on the morally weakened state of the West as it is yet another demonstration of the blindness of the West to an evil which cannot be comprised or negotiated with. Namely, the Islamo-fascist movement, which has no regard for the rule of law and order, as defined in Western civilization and most other civilizations, as it seeks to destroy everything and everyone in its path which does not meet its demented Muslim standards.
This weakness and blindness was made clear by Western responses to the videotaped murder-by-decapitation of Nick Berg --an innocent American contractor helping the Iraqis to rebuild their country-- by a group of Muslim terrorists. Even the Bush administration, which should know better, talks about "bringing" these subhuman thugs "to justice" rather than hunting them down and eradicating them as the destructive vermin they are.
The Bush administration, and the West in general, needs to revive the classical definition of "outlaw" as understood under the time-honored Catholic legal code known as the English Common Law, created by Catholic King Alfred the Great and incorporated into American jurisprudence over 200 years ago:
Under that system, anyone who deliberately placed themselves outside the law by making themselves autonomous ("self-law" or "law unto oneself") also thereby placed themselves outside the rights and protections guaranteed under that law. Hence, they could be hunted down with impunity by anyone and taken "dead or alive" with no guarantee of safe passage, much less a trial. Wikipedia.com puts it this way,
"To be declared an outlaw [under the English Common Law] was to suffer a form of civil death. The outlaw was debarred from all civilised society. No one was allowed to give him food, shelter, or any other sort of support; to do so was to commit the crime of couthutlaugh, and to be in danger of the ban yourself. A person who encountered an outlaw was allowed, and indeed encouraged, to kill them; to do so was no murder. Because the outlaw has defied civil society, that society was quit of any obligations to the outlaw; outlaws had no civil rights, could not sue in any court on any cause of action, though they were themselves personally liable."
Berg's Al Queda murderers, along with the rest of the Islamo-Fascist thugs, are clearly nothing more or less than outside the law, "outlaws" in the original sense of the word. They should be officially declared as "outlaws" and treated as such.
Friday, March 05, 2004
THE COMING "PASSION" FRANCHISE?
The $150 MIL (and Counting) Success of Gibson's Film Demands Sequels
Since The Passion of the Christ continues to do so well at the box office, we predict that Hollywood will jump on the band wagon and demand the production of sequels.
In fact, to those of us out here in the cultural hinterlands (i.e., outside the LA beltway). it seems to be the rule that *anything* which makes enough $$$ at the box office ends up getting turned into a franchise.
Thus we expect to see coming down the cinematic pike...
"The Passion II: The Wrath of Saul"
"The Passion III: The Search for Greeks"
"The Passion IV: The Voyage Rome"
"The Passion V: The Gaulic Frontier"
"The Passion VI: The Undiscovered Brits"
"The Passion VII: Regenerations"
...and so forth.
And then there's the matter of the t.v. series and spin-offs. Not to mention the Broadway musical version, "The Passion: All This and Vatican II."
It's only a matter of time.
The $150 MIL (and Counting) Success of Gibson's Film Demands Sequels
Since The Passion of the Christ continues to do so well at the box office, we predict that Hollywood will jump on the band wagon and demand the production of sequels.
In fact, to those of us out here in the cultural hinterlands (i.e., outside the LA beltway). it seems to be the rule that *anything* which makes enough $$$ at the box office ends up getting turned into a franchise.
Thus we expect to see coming down the cinematic pike...
"The Passion II: The Wrath of Saul"
"The Passion III: The Search for Greeks"
"The Passion IV: The Voyage Rome"
"The Passion V: The Gaulic Frontier"
"The Passion VI: The Undiscovered Brits"
"The Passion VII: Regenerations"
...and so forth.
And then there's the matter of the t.v. series and spin-offs. Not to mention the Broadway musical version, "The Passion: All This and Vatican II."
It's only a matter of time.
Thursday, February 26, 2004
"THE PASSION" AS RORSCHACH TEST:
Why Most of the Opposition Comes from Liberals
Well, the screeching in the Establishment media continues.
Even before the general public began to view The Passion of the Christ for themselves, liberal commentators have been attacking it as "pornographic" and "obscene" in part or in whole because of Mel Gibson's hard-to-take but thoroughly accurate depiction of the sadistic torture and death Christ suffered at the hands of the ancient Romans, surely the Nazis of their day. When they look at The Passion, instead of seeing a message of redemption, love, and forgiveness they see "racism," or "anti-Semitism, or a "dangerous" philosophy of "divisiveness."
For liberals, religion should be about niceness, feeling good about oneself, and preaching sweetness and light from the back of the cultural bus. It ought not move up to the front to challenge the status quo, especially with in-your-face images of a suffering Savior who makes demands and wants you to make a decision ("who do you say that I am?," He asked His disciples).
For liberals, including those who think of themselves as "Christians," The Passion of the Christ is a Rorschach Test in which they see the cross as "foolishness," as the Apostle Paul observed about the Roman pagans of his day. He could just as easily have penned the same thing about modern-day liberals, including modern-day liberal Christians. 60 years ago, someone else did:
While the Nazis were plunging Europe into world war, partly due to apathy on the part of mainline Christians here and in the Reich, noted German Protestant theologian and anti-Nazi activist H. Reinhold Neibuhr summarized modern-day mainstream Christianity, especially in Germany and America, as a religion in which "a God without wrath brought men without sin into a kingdom without judgment though the ministrations of a Christ without a cross."
As Presbyterian minister William Sloane Coffin once said about Fundamentalists and their interpretation of the Bible, Mel Gibson's film "is something like a mirror: if an ass peers in, you can't expect an apostle to peer out.''
Why Most of the Opposition Comes from Liberals
Well, the screeching in the Establishment media continues.
Even before the general public began to view The Passion of the Christ for themselves, liberal commentators have been attacking it as "pornographic" and "obscene" in part or in whole because of Mel Gibson's hard-to-take but thoroughly accurate depiction of the sadistic torture and death Christ suffered at the hands of the ancient Romans, surely the Nazis of their day. When they look at The Passion, instead of seeing a message of redemption, love, and forgiveness they see "racism," or "anti-Semitism, or a "dangerous" philosophy of "divisiveness."
For liberals, religion should be about niceness, feeling good about oneself, and preaching sweetness and light from the back of the cultural bus. It ought not move up to the front to challenge the status quo, especially with in-your-face images of a suffering Savior who makes demands and wants you to make a decision ("who do you say that I am?," He asked His disciples).
For liberals, including those who think of themselves as "Christians," The Passion of the Christ is a Rorschach Test in which they see the cross as "foolishness," as the Apostle Paul observed about the Roman pagans of his day. He could just as easily have penned the same thing about modern-day liberals, including modern-day liberal Christians. 60 years ago, someone else did:
While the Nazis were plunging Europe into world war, partly due to apathy on the part of mainline Christians here and in the Reich, noted German Protestant theologian and anti-Nazi activist H. Reinhold Neibuhr summarized modern-day mainstream Christianity, especially in Germany and America, as a religion in which "a God without wrath brought men without sin into a kingdom without judgment though the ministrations of a Christ without a cross."
As Presbyterian minister William Sloane Coffin once said about Fundamentalists and their interpretation of the Bible, Mel Gibson's film "is something like a mirror: if an ass peers in, you can't expect an apostle to peer out.''
Friday, February 20, 2004
FOR MEL GIBSON, HIS FILM IS A MASS:
ZENIT on The Passion, Catholic Liturgy, and Anti-Semitism
The Italian news agency ZENIT, the only secular media outlet which specializes in covering the Vatican, released the following remarkable article this week.
==================================================
ZENIT News Agency, The World Seen from Rome
==================================================
"'The Passion' … for Its Author, Is a Mass"
Vittorio Messori on Mel Gibson's Work
ROME, FEB. 18, 2004 (Zenit.org).- Vittorio Messori is the first journalist in history to publish a book-length interview with a pope, the multimillion-selling "Crossing the Threshold of Hope" (1994), as well as numerous other works such as "The Ratzinger Report" (1987) and his best-selling "Ipotesi su Gesù" (The Jesus Hypothesis, 1976).
After seeing Mel Gibson's "The Passion of the Christ," he wrote the following article for the Italian daily Corriere della Sera and offered the piece to ZENIT for publication in other languages.
* * *
A Passion of Violence and Love
By Vittorio Messori
After two hours and six minutes, the lights flick on again in the little soundproof room. There are only about a dozen of us (I the sole journalist), and we are aware of a privilege. By invitation of Mel Gibson and producer Steve McEveety of Icon Films, we are the first in Europe to see the final copy of this film which just arrived from Los Angeles. The same version that next Wednesday will be in 2,000 American cinemas, 500 English ones, and as many Australian, the version whose expectation has caused a short circuit on Internet sites and which in the first week will recover (the bookmakers say it is certain) the $30 million of production costs.
The Pope himself has only seen a provisional version, lacking among other things the final soundtrack. But, if this evening we are the first, the Italians will have to wait until the 7th of April, the French and the Spanish until June.
When the long list of credits ends, where American names alternate with Italian, where recognition of the municipality of Matera is side by side with that of theologians and experts in ancient languages, where Rosalinda, the daughter of Celentano (the devil) is next to a Romanian Jew, Maia Morgenstern (the Virgin Mary), and the technician presses the light switch, silence continues in the little room.
Two women weep quietly, without sobbing; the monsignor in clergyman's dress who is next to me is very pale, his eyes closed; the young ecclesiastical secretary nervously fingers a rosary; a tentative, solitary start of applause quickly dies out in embarrassment.
For many, very long minutes, no one stands up, no one moves, no one speaks. So, what we were being told was true: "The Passion of The Christ" has struck us, it has worked in us, the first guinea pigs, the effect that Gibson wanted.
For what it's worth, I myself was disconcerted and speechless: For years I have examined one by one the Greek words with which the Evangelists recount those events; not one historical minutia of those 12 hours in Jerusalem is unknown to me. I have addressed it in a 400-page book that Gibson himself has taken into account. I know everything, or rather, I now discover that I thought I knew: everything changes if those words are translated into images of such power to transform in flesh and blood, striking signs of love and hatred.
The Gamble
Mel has said it with pride tempered by humility, with pragmatism kneaded with mysticism which becomes in him a singular mixture: "If this work was to fail, for 50 years there will be no future for religious films. We threw the best in here: as much money as we wished, prestige, time, rigor, the charism of great actors, the science of the learned, inspirations of the mystics, experience, advanced technology. Above all, we threw in our conviction that it was worthwhile, that what takes place in those hours concerns every man. Our eternity is bound up forever with this Jew. If we don't point this out, who will be able to do so? But we will point it out, I am sure of it: Our work was accompanied by too many signs that confirm it."
In fact, on the set much more happened than what is known; much will remain in the secret of consciences: conversions, release from drugs, reconciliation between enemies, giving up of adulterous ties, apparitions of mysterious personages, extraordinary explosions of energy, enigmatic figures who knelt down as the extraordinary Caviezel-Jesus passed by, even two flashes of lightning, one of which struck the cross, but did not hurt anyone. And, then, coincidences read like signs: the Madonna with the face of the Jewish actress with the name Morgenstern which, it was only noticed later, is, in German, the "Morning Star" of the litanies of the Rosary.
Gibson remembered Blessed [early Renaissance artist-monk Fra] Angelico's warning: "To depict Christ, it is necessary to live with Christ." The atmosphere, between the Sassi di Matera and the Cinecittà Studios seems to have been that of the sacred medieval representations, of processions of scourged pilgrims before the relics of martyrs. A 14th-century Thespis' cart, with which every evening, a priest in black cassock, of the type with the long line of buttons, celebrated an open-air Mass, in Latin, according to the rite of St. Pius V. Precisely here, in fact, is the real reason for the decision to make the Jews speak in their popular language, Aramaic, and the Romans in a low Latin, of the military, which wounds our schoolboy ears, used to Ciceronian refinements.
Gibson, a Catholic who loves the Tradition, is a strong champion of the doctrine confirmed by the Council of Trent: the Mass is "also" a fraternal meal but it is "above all" Jesus' sacrifice, the bloodless renewal of the Passion. This is what matters, not the "understanding of the words," as the new liturgists wish, whose superficiality Mel mocks as it seems like blasphemy to him. The redemptive value of the actions and gestures that have their culmination on Calvary has no need of expressions that anyone can understand.
This film, for its author, is a Mass: Let it be, then, in an obscure language, as it was for so many centuries. If the mind does not understand, so much the better. What matters is that the heart understands that all that happened redeems us from sin and opens to us the doors of salvation. Precisely as the prophecy of Isaiah reminds us on the "Servant of Yahweh" which, taking up the whole screen, is the prologue of the entire film. The wonder, however, seems to me to be verified: After a while, one stops reading the subtitles to enter, without distractions, in the terrible and marvelous scenes -- that are sufficient in themselves.
The Quality
On the technical plane, the work is of a very high quality, so much so that previous films on Jesus might seem reduced to poor and archaic relatives: in Gibson, strategic lighting, skillful photography, extraordinary costumes, rugged and sometimes sumptuous set designs, incredibly convincing makeup, recitations of great professionals supervised by a director who is also one of their illustrious colleagues. Above all, such amazing special effects which, as Enzo Sisti, the executive producer, said to us, will remain secret, to confirm the enigma of the work, where the technique is intended to be at the service of faith. A faith in the most Catholic version -- no accident that it was pleasing to the Pope and to so many cardinals, not excluding Ratzinger, for whom "The Passion" is a manifesto that abounds in symbols that only a competent eye can fully discern. There will be a book (two, in fact, are in preparation) to help the spectator understand.
Very briefly, the radical "Catholicity" of the film lies first of all in the refusal of every demythicization, in taking the Gospels as precise chronicles: The things, we are told, happened like this, precisely as the Scriptures describe it. Catholicism is present, then, in the recognition of the divinity of Jesus which exists together with his full humanity. A divinity that bursts forth, dramatically, in the superhuman capacity of that body to suffer a level of pain as no one before or after ever has, in expiation of all the sin of the world.
But the radical "Catholicity" is also in the Eucharistic aspect, reaffirmed in its materiality: The blood of the Passion is continuously intermingled with the wine of the Mass, the tortured flesh of the "corpus Christi" with the consecrated bread. It is, also, in the strongly Marian tone: the Mother and the devil (who is feminine or, perhaps, androgynous) are omnipresent, the one with her silent pain, the other with his/her malicious satisfaction.
From Anne Catherine Emmerich, the stigmatized visionary, Gibson has taken extraordinary intuitions: Claudia Procula, Pilate's wife, who offers, weeping, to Mary the cloths to soak up the blood of the Son is among the scenes of greatest delicacy in a film that, more than violent, is brutal. Brutal as, in fact, the Passion was. The desperate Peter after the denial, falls at the feet of the Blessed Virgin to obtain pardon. I believe, however, that the theological importance attributed to the Madonna, as well as to the Eucharist -- an importance not spiritualized, not reduced to a "memorial" but seen in the most material, and therefore Catholic, way (the Transubstantiation) -- will create some uneasiness in American Protestant churches which, without having seen the film, have already organized themselves to support its distribution.
If two hours are dedicated to the martyrdom, two minutes suffice to recall that that was not the last word. From Good Friday to Easter Sunday, to the Resurrection, which Gibson has resolved by making a particular reading of John's words: an "emptying" of the funeral shroud, leaving a sufficient sign to "see and believe" that the tortured one has triumphed over death.
Anti-Semitism or, at least, anti-Judaism? Let's not play around with words that are much too serious. From my viewing, I agree with the many and authoritative American Jews who admonish their co-religionists not to condemn before seeing. It comes across very clearly in the film that what weighs Christ down and reduces him to that state is not this one's or that one's fault, but rather the sin of all men, no one excluded.
To Caiaphas' obstinacy in calling for the crucifixion (that collaborator Sadducee who did not in fact represent the Jewish people, but, rather was detested by them; the Talmud reserves terrible words for him and for his father-in-law Annas), more than abundant counterbalance is made by the unheard-of sadism of the Roman executioners. The political cowardice of Pilate that leads him to violate his conscience stands counter to the courage of the member of the Sanhedrin -- an episode added by the director -- who confronts the High Priest crying out that that trial is illegal. And is it not John, a Jew, who supports the Mother? Is not the pious Veronica a Jew? Is not the impetuous Simon of Cyrene a Jew? Are not the women of Jerusalem, crying out in despair, all Jews? And is it not Peter -- a Jew -- who, when forgiven, will die for the Master?
At the beginning of the film, before the drama is unleashed, an anguished Magdalene asks the Virgin: "Why is this night so different from any other?" "Because," Mary answers, "we were all slaves and now we will no longer be so." All, but absolutely all: whether they are "Jews or Gentiles." This work, Mel Gibson says, saddened by aggressions to prevent it, intends to propose again the message of a God who is Love. And what Love would it be if he excluded any one?
ZE04021821
===================================================
ZENIT is an International News Agency.
To receive ZENIT News Services by e-mail, FREE Subscription at:
http://www.zenit.org/english/subscribe.html
ZENIT on The Passion, Catholic Liturgy, and Anti-Semitism
The Italian news agency ZENIT, the only secular media outlet which specializes in covering the Vatican, released the following remarkable article this week.
==================================================
ZENIT News Agency, The World Seen from Rome
==================================================
"'The Passion' … for Its Author, Is a Mass"
Vittorio Messori on Mel Gibson's Work
ROME, FEB. 18, 2004 (Zenit.org).- Vittorio Messori is the first journalist in history to publish a book-length interview with a pope, the multimillion-selling "Crossing the Threshold of Hope" (1994), as well as numerous other works such as "The Ratzinger Report" (1987) and his best-selling "Ipotesi su Gesù" (The Jesus Hypothesis, 1976).
After seeing Mel Gibson's "The Passion of the Christ," he wrote the following article for the Italian daily Corriere della Sera and offered the piece to ZENIT for publication in other languages.
* * *
A Passion of Violence and Love
By Vittorio Messori
After two hours and six minutes, the lights flick on again in the little soundproof room. There are only about a dozen of us (I the sole journalist), and we are aware of a privilege. By invitation of Mel Gibson and producer Steve McEveety of Icon Films, we are the first in Europe to see the final copy of this film which just arrived from Los Angeles. The same version that next Wednesday will be in 2,000 American cinemas, 500 English ones, and as many Australian, the version whose expectation has caused a short circuit on Internet sites and which in the first week will recover (the bookmakers say it is certain) the $30 million of production costs.
The Pope himself has only seen a provisional version, lacking among other things the final soundtrack. But, if this evening we are the first, the Italians will have to wait until the 7th of April, the French and the Spanish until June.
When the long list of credits ends, where American names alternate with Italian, where recognition of the municipality of Matera is side by side with that of theologians and experts in ancient languages, where Rosalinda, the daughter of Celentano (the devil) is next to a Romanian Jew, Maia Morgenstern (the Virgin Mary), and the technician presses the light switch, silence continues in the little room.
Two women weep quietly, without sobbing; the monsignor in clergyman's dress who is next to me is very pale, his eyes closed; the young ecclesiastical secretary nervously fingers a rosary; a tentative, solitary start of applause quickly dies out in embarrassment.
For many, very long minutes, no one stands up, no one moves, no one speaks. So, what we were being told was true: "The Passion of The Christ" has struck us, it has worked in us, the first guinea pigs, the effect that Gibson wanted.
For what it's worth, I myself was disconcerted and speechless: For years I have examined one by one the Greek words with which the Evangelists recount those events; not one historical minutia of those 12 hours in Jerusalem is unknown to me. I have addressed it in a 400-page book that Gibson himself has taken into account. I know everything, or rather, I now discover that I thought I knew: everything changes if those words are translated into images of such power to transform in flesh and blood, striking signs of love and hatred.
The Gamble
Mel has said it with pride tempered by humility, with pragmatism kneaded with mysticism which becomes in him a singular mixture: "If this work was to fail, for 50 years there will be no future for religious films. We threw the best in here: as much money as we wished, prestige, time, rigor, the charism of great actors, the science of the learned, inspirations of the mystics, experience, advanced technology. Above all, we threw in our conviction that it was worthwhile, that what takes place in those hours concerns every man. Our eternity is bound up forever with this Jew. If we don't point this out, who will be able to do so? But we will point it out, I am sure of it: Our work was accompanied by too many signs that confirm it."
In fact, on the set much more happened than what is known; much will remain in the secret of consciences: conversions, release from drugs, reconciliation between enemies, giving up of adulterous ties, apparitions of mysterious personages, extraordinary explosions of energy, enigmatic figures who knelt down as the extraordinary Caviezel-Jesus passed by, even two flashes of lightning, one of which struck the cross, but did not hurt anyone. And, then, coincidences read like signs: the Madonna with the face of the Jewish actress with the name Morgenstern which, it was only noticed later, is, in German, the "Morning Star" of the litanies of the Rosary.
Gibson remembered Blessed [early Renaissance artist-monk Fra] Angelico's warning: "To depict Christ, it is necessary to live with Christ." The atmosphere, between the Sassi di Matera and the Cinecittà Studios seems to have been that of the sacred medieval representations, of processions of scourged pilgrims before the relics of martyrs. A 14th-century Thespis' cart, with which every evening, a priest in black cassock, of the type with the long line of buttons, celebrated an open-air Mass, in Latin, according to the rite of St. Pius V. Precisely here, in fact, is the real reason for the decision to make the Jews speak in their popular language, Aramaic, and the Romans in a low Latin, of the military, which wounds our schoolboy ears, used to Ciceronian refinements.
Gibson, a Catholic who loves the Tradition, is a strong champion of the doctrine confirmed by the Council of Trent: the Mass is "also" a fraternal meal but it is "above all" Jesus' sacrifice, the bloodless renewal of the Passion. This is what matters, not the "understanding of the words," as the new liturgists wish, whose superficiality Mel mocks as it seems like blasphemy to him. The redemptive value of the actions and gestures that have their culmination on Calvary has no need of expressions that anyone can understand.
This film, for its author, is a Mass: Let it be, then, in an obscure language, as it was for so many centuries. If the mind does not understand, so much the better. What matters is that the heart understands that all that happened redeems us from sin and opens to us the doors of salvation. Precisely as the prophecy of Isaiah reminds us on the "Servant of Yahweh" which, taking up the whole screen, is the prologue of the entire film. The wonder, however, seems to me to be verified: After a while, one stops reading the subtitles to enter, without distractions, in the terrible and marvelous scenes -- that are sufficient in themselves.
The Quality
On the technical plane, the work is of a very high quality, so much so that previous films on Jesus might seem reduced to poor and archaic relatives: in Gibson, strategic lighting, skillful photography, extraordinary costumes, rugged and sometimes sumptuous set designs, incredibly convincing makeup, recitations of great professionals supervised by a director who is also one of their illustrious colleagues. Above all, such amazing special effects which, as Enzo Sisti, the executive producer, said to us, will remain secret, to confirm the enigma of the work, where the technique is intended to be at the service of faith. A faith in the most Catholic version -- no accident that it was pleasing to the Pope and to so many cardinals, not excluding Ratzinger, for whom "The Passion" is a manifesto that abounds in symbols that only a competent eye can fully discern. There will be a book (two, in fact, are in preparation) to help the spectator understand.
Very briefly, the radical "Catholicity" of the film lies first of all in the refusal of every demythicization, in taking the Gospels as precise chronicles: The things, we are told, happened like this, precisely as the Scriptures describe it. Catholicism is present, then, in the recognition of the divinity of Jesus which exists together with his full humanity. A divinity that bursts forth, dramatically, in the superhuman capacity of that body to suffer a level of pain as no one before or after ever has, in expiation of all the sin of the world.
But the radical "Catholicity" is also in the Eucharistic aspect, reaffirmed in its materiality: The blood of the Passion is continuously intermingled with the wine of the Mass, the tortured flesh of the "corpus Christi" with the consecrated bread. It is, also, in the strongly Marian tone: the Mother and the devil (who is feminine or, perhaps, androgynous) are omnipresent, the one with her silent pain, the other with his/her malicious satisfaction.
From Anne Catherine Emmerich, the stigmatized visionary, Gibson has taken extraordinary intuitions: Claudia Procula, Pilate's wife, who offers, weeping, to Mary the cloths to soak up the blood of the Son is among the scenes of greatest delicacy in a film that, more than violent, is brutal. Brutal as, in fact, the Passion was. The desperate Peter after the denial, falls at the feet of the Blessed Virgin to obtain pardon. I believe, however, that the theological importance attributed to the Madonna, as well as to the Eucharist -- an importance not spiritualized, not reduced to a "memorial" but seen in the most material, and therefore Catholic, way (the Transubstantiation) -- will create some uneasiness in American Protestant churches which, without having seen the film, have already organized themselves to support its distribution.
If two hours are dedicated to the martyrdom, two minutes suffice to recall that that was not the last word. From Good Friday to Easter Sunday, to the Resurrection, which Gibson has resolved by making a particular reading of John's words: an "emptying" of the funeral shroud, leaving a sufficient sign to "see and believe" that the tortured one has triumphed over death.
Anti-Semitism or, at least, anti-Judaism? Let's not play around with words that are much too serious. From my viewing, I agree with the many and authoritative American Jews who admonish their co-religionists not to condemn before seeing. It comes across very clearly in the film that what weighs Christ down and reduces him to that state is not this one's or that one's fault, but rather the sin of all men, no one excluded.
To Caiaphas' obstinacy in calling for the crucifixion (that collaborator Sadducee who did not in fact represent the Jewish people, but, rather was detested by them; the Talmud reserves terrible words for him and for his father-in-law Annas), more than abundant counterbalance is made by the unheard-of sadism of the Roman executioners. The political cowardice of Pilate that leads him to violate his conscience stands counter to the courage of the member of the Sanhedrin -- an episode added by the director -- who confronts the High Priest crying out that that trial is illegal. And is it not John, a Jew, who supports the Mother? Is not the pious Veronica a Jew? Is not the impetuous Simon of Cyrene a Jew? Are not the women of Jerusalem, crying out in despair, all Jews? And is it not Peter -- a Jew -- who, when forgiven, will die for the Master?
At the beginning of the film, before the drama is unleashed, an anguished Magdalene asks the Virgin: "Why is this night so different from any other?" "Because," Mary answers, "we were all slaves and now we will no longer be so." All, but absolutely all: whether they are "Jews or Gentiles." This work, Mel Gibson says, saddened by aggressions to prevent it, intends to propose again the message of a God who is Love. And what Love would it be if he excluded any one?
ZE04021821
===================================================
ZENIT is an International News Agency.
To receive ZENIT News Services by e-mail, FREE Subscription at:
http://www.zenit.org/english/subscribe.html
Wednesday, February 18, 2004
ON PREVENTING POGROMS IN PITTSBURGH:
An Orthodox Rabbi Responds to The Passion's Jewish Critics
Rabbi Daniel Lapin, an Orthodox Rabbi, is president of Toward Tradition, an ecumenical "bridge-building" organization "providing a voice for all Americans who defend the Judeo-Christian values." On February 12, Rabbi Lapin had the following to say on his web site about Mel Gibson's new film, The Passion of the Christ, and the high-profile Jewish groups and "leaders" attempting to ostracize it:
Why Mel Owes One to the Jews
by Rabbi Daniel Lapin
Two weeks before Mel Gibson's Passion flashes onto two thousand screens, online ticket merchants are reporting that up to half their total sales are for advance purchases for Passion. One Dallas multiplex has reserved all twenty of its screens for The Passion. I am neither a prophet nor a movie critic. I am merely an Orthodox rabbi using ancient Jewish wisdom to make three predictions about The Passion.
One, Mel Gibson and Icon Productions will make a great deal of money. Those distributors who surrendered to pressure from Jewish organizations and passed on Passion will be kicking themselves, while Newmarket Films will
laugh all the way to the bank. Theater owners are going to love this film.
Two, Passion will become famous as the most serious and substantive Biblical movie ever made. It will be one of the most talked-about entertainment events in history; it is currently on the cover of Newsweek and Vanity Fair.
My third prediction is that the faith of millions of Christians will become more fervent as Passion uplifts and inspires them. Passion will propel vast numbers of unreligious Americans to embrace Christianity. The movie will one day be seen as a harbinger of America's third great religious reawakening.
Those Jewish organizations that have squandered both time and money futilely protesting Passion, ostensibly in order to prevent pogroms in Pittsburgh, can hardly be proud of their performance. They failed at everything they
attempted. They were hoping to ruin Gibson rather than enrich him. They were hoping to suppress Passion rather than promote it. Finally, they were hoping to help Jews rather than harm them.
Here I digress slightly to exercise the Jewish value of "giving the benefit of the doubt" by discounting cynical suggestions growing in popularity, that the very public nature of their attack on Gibson exposed their real purpose ? fundraising. Apparently, frightening wealthy widows in Florida about anti-Semitic thugs prowling the streets of America causes them to open their pocketbooks and refill the coffers of groups with little other raison d'?tre. But let's assume they were hoping to help Jews.
However, instead of helping the Jewish community, they have inflicted lasting harm. By selectively unleashing their fury only on wholesome entertainment that depicts Christianity in a positive light, they have triggered anger, hurt, and resentment. Hosting the Toward Tradition Radio Show and speaking before many audiences nationwide, I enjoy extensive communication with Christian America and what I hear is troubling. Fearful of attracting the ire of Jewish groups that are so quick to hurl the "anti-Semite" epithet, some Christians are reluctant to speak out. Although
one can bludgeon resentful people into silence, behind closed doors emotions continue to simmer.
I consider it crucially important for Christians to know that not all Jews are in agreement with their self-appointed spokesmen. Most American Jews, experiencing warm and gracious interactions each day with their Christian fellow-citizens, would feel awkward trying to explain why so many Jewish organizations seem focused on an agenda hostile to Judeo-Christian values. Many individual Jews have shared with me their embarrassment that groups,
ostensibly representing them, attack Passion but are silent about depraved entertainment that encourages killing cops and brutalizing women. Citing artistic freedom, Jewish groups helped protect sacrilegious exhibits such as
the anti-Christian feces extravaganza presented by the Brooklyn Museum four years ago. One can hardly blame Christians for assuming that Jews feel artistic freedom is important only when exercised by those hostile toward
Christianity. However, this is not how all Jews feel.
From audiences around America, I am encountering bitterness at Jewish organizations insisting that belief in the New Testament is de facto evidence of anti-Semitism. Christians heard Jewish leaders denouncing Gibson for making a movie that follows Gospel accounts of the Crucifixion long before any of them had even seen the movie. Furthermore, Christians are hurt that Jewish groups are presuming to teach them what Christian Scripture "really means." Listen to a rabbi whom I debated on the Fox television show hosted by Bill O'Reilly last September. This is what he said, "We have a responsibility as Jews, as thinking Jews, as people of theology, to respond to our Christian brothers and to engage them, be it Protestants, be it Catholics, and say, look, this is not your history, this is not your theology, this does not represent what you believe in."
He happens to be a respected rabbi and a good one, but he too has bought into the preposterous proposition that Jews will reeducate Christians about Christian theology and history. Is it any wonder that this breathtaking arrogance spurs bitterness?
Many Christians who, with good reason, have considered themselves to be Jews' best (and perhaps, only) friends also feel bitter at Jews believing that Passion is revealing startling new information about the Crucifixion. They are incredulous at Jews thinking that exposure to the Gospels in visual form will instantly transform the most philo-Semitic gentiles of history into snarling, Jew-hating predators.
Christians are baffled by Jews who don't understand that President George Washington, who knew and revered every word of the Gospels, was still able to write that oft-quoted beautiful letter to the Touro Synagogue in Newport, offering friendship and full participation in America to the Jewish community.
One of the directors of the AJC recently warned that Passion "could undermine the sense of community between Christians and Jews that's going on in this country. We're not allowing the film to do that." No sir, it isn't the film that threatens the sense of community; it is the arrogant and intemperate response of Jewish organizations that does so.
Jewish organizations, hoping to help but failing so spectacularly, refutes all myths of Jewish intelligence. How could their plans have been so misguided and the execution so inept?
Ancient Jewish wisdom teaches that nothing confuses one's thinking more than being in the grip of the two powerful emotions, love and hate. The actions of these Jewish organizations sadly suggest that they are in the grip of a hatred for Christianity that is only harming Jews.
Today, peril threatens all Americans, both Jews and Christians. Many of the men and women in the front lines find great support in their Christian faith. It is strange that Jewish organizations, purporting to protect Jews, think that insulting allies is the preferred way to carry out that mandate.
A ferocious Rottweiler dog in your suburban home will quickly estrange your family from the neighborhood. For those of us in the Jewish community who cherish friendship with our neighbors, some Jewish organizations have become our Rottweilers.
God help us.
An Orthodox Rabbi Responds to The Passion's Jewish Critics
Rabbi Daniel Lapin, an Orthodox Rabbi, is president of Toward Tradition, an ecumenical "bridge-building" organization "providing a voice for all Americans who defend the Judeo-Christian values." On February 12, Rabbi Lapin had the following to say on his web site about Mel Gibson's new film, The Passion of the Christ, and the high-profile Jewish groups and "leaders" attempting to ostracize it:
Why Mel Owes One to the Jews
by Rabbi Daniel Lapin
Two weeks before Mel Gibson's Passion flashes onto two thousand screens, online ticket merchants are reporting that up to half their total sales are for advance purchases for Passion. One Dallas multiplex has reserved all twenty of its screens for The Passion. I am neither a prophet nor a movie critic. I am merely an Orthodox rabbi using ancient Jewish wisdom to make three predictions about The Passion.
One, Mel Gibson and Icon Productions will make a great deal of money. Those distributors who surrendered to pressure from Jewish organizations and passed on Passion will be kicking themselves, while Newmarket Films will
laugh all the way to the bank. Theater owners are going to love this film.
Two, Passion will become famous as the most serious and substantive Biblical movie ever made. It will be one of the most talked-about entertainment events in history; it is currently on the cover of Newsweek and Vanity Fair.
My third prediction is that the faith of millions of Christians will become more fervent as Passion uplifts and inspires them. Passion will propel vast numbers of unreligious Americans to embrace Christianity. The movie will one day be seen as a harbinger of America's third great religious reawakening.
Those Jewish organizations that have squandered both time and money futilely protesting Passion, ostensibly in order to prevent pogroms in Pittsburgh, can hardly be proud of their performance. They failed at everything they
attempted. They were hoping to ruin Gibson rather than enrich him. They were hoping to suppress Passion rather than promote it. Finally, they were hoping to help Jews rather than harm them.
Here I digress slightly to exercise the Jewish value of "giving the benefit of the doubt" by discounting cynical suggestions growing in popularity, that the very public nature of their attack on Gibson exposed their real purpose ? fundraising. Apparently, frightening wealthy widows in Florida about anti-Semitic thugs prowling the streets of America causes them to open their pocketbooks and refill the coffers of groups with little other raison d'?tre. But let's assume they were hoping to help Jews.
However, instead of helping the Jewish community, they have inflicted lasting harm. By selectively unleashing their fury only on wholesome entertainment that depicts Christianity in a positive light, they have triggered anger, hurt, and resentment. Hosting the Toward Tradition Radio Show and speaking before many audiences nationwide, I enjoy extensive communication with Christian America and what I hear is troubling. Fearful of attracting the ire of Jewish groups that are so quick to hurl the "anti-Semite" epithet, some Christians are reluctant to speak out. Although
one can bludgeon resentful people into silence, behind closed doors emotions continue to simmer.
I consider it crucially important for Christians to know that not all Jews are in agreement with their self-appointed spokesmen. Most American Jews, experiencing warm and gracious interactions each day with their Christian fellow-citizens, would feel awkward trying to explain why so many Jewish organizations seem focused on an agenda hostile to Judeo-Christian values. Many individual Jews have shared with me their embarrassment that groups,
ostensibly representing them, attack Passion but are silent about depraved entertainment that encourages killing cops and brutalizing women. Citing artistic freedom, Jewish groups helped protect sacrilegious exhibits such as
the anti-Christian feces extravaganza presented by the Brooklyn Museum four years ago. One can hardly blame Christians for assuming that Jews feel artistic freedom is important only when exercised by those hostile toward
Christianity. However, this is not how all Jews feel.
From audiences around America, I am encountering bitterness at Jewish organizations insisting that belief in the New Testament is de facto evidence of anti-Semitism. Christians heard Jewish leaders denouncing Gibson for making a movie that follows Gospel accounts of the Crucifixion long before any of them had even seen the movie. Furthermore, Christians are hurt that Jewish groups are presuming to teach them what Christian Scripture "really means." Listen to a rabbi whom I debated on the Fox television show hosted by Bill O'Reilly last September. This is what he said, "We have a responsibility as Jews, as thinking Jews, as people of theology, to respond to our Christian brothers and to engage them, be it Protestants, be it Catholics, and say, look, this is not your history, this is not your theology, this does not represent what you believe in."
He happens to be a respected rabbi and a good one, but he too has bought into the preposterous proposition that Jews will reeducate Christians about Christian theology and history. Is it any wonder that this breathtaking arrogance spurs bitterness?
Many Christians who, with good reason, have considered themselves to be Jews' best (and perhaps, only) friends also feel bitter at Jews believing that Passion is revealing startling new information about the Crucifixion. They are incredulous at Jews thinking that exposure to the Gospels in visual form will instantly transform the most philo-Semitic gentiles of history into snarling, Jew-hating predators.
Christians are baffled by Jews who don't understand that President George Washington, who knew and revered every word of the Gospels, was still able to write that oft-quoted beautiful letter to the Touro Synagogue in Newport, offering friendship and full participation in America to the Jewish community.
One of the directors of the AJC recently warned that Passion "could undermine the sense of community between Christians and Jews that's going on in this country. We're not allowing the film to do that." No sir, it isn't the film that threatens the sense of community; it is the arrogant and intemperate response of Jewish organizations that does so.
Jewish organizations, hoping to help but failing so spectacularly, refutes all myths of Jewish intelligence. How could their plans have been so misguided and the execution so inept?
Ancient Jewish wisdom teaches that nothing confuses one's thinking more than being in the grip of the two powerful emotions, love and hate. The actions of these Jewish organizations sadly suggest that they are in the grip of a hatred for Christianity that is only harming Jews.
Today, peril threatens all Americans, both Jews and Christians. Many of the men and women in the front lines find great support in their Christian faith. It is strange that Jewish organizations, purporting to protect Jews, think that insulting allies is the preferred way to carry out that mandate.
A ferocious Rottweiler dog in your suburban home will quickly estrange your family from the neighborhood. For those of us in the Jewish community who cherish friendship with our neighbors, some Jewish organizations have become our Rottweilers.
God help us.
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