← Autodidact Archive · Original Dissent · Avalanche
Thread ID: 8706 | Posts: 5 | Started: 2003-08-02
2003-08-02 20:35 | User Profile
We're not going to SEE the movie, but we're sure'nuff gonna buy tickets to it!! Mel Gibson deserves all the support he can get! And let me highly recommend, if you don't already get it, Michael Hoffman's very good email newsletter! (Info at the bottom.) =======================
THE HOFFMAN WIRE Dedicated to Freedom of the Press, Investigative Reporting and Revisionist History
Michael A. Hoffman II, Editor [url=http://www.hoffman-info.com/news.html]http://www.hoffman-info.com/news.html[/url]
August 2, 2003
New York Times Keeps the Heat on Gibson
Editor's Note: Debate on Mel Gibson's forthcoming film, "The Passion," about the torture and execution of Jesus Christ, continues to draw a storm of controversy. Opinion is divided between those Zionist hysterics who believe the movie is a cross between Jud Suss and the Ewige Jude, and some on the right who think Gibson has sold them out by being "soft on the Pharisees." Actually, the movie isn't about Christ's enemies, its about the physical and mental agony He endured, something akin to Jim Bishop's book, "The Day Christ Died," rather than a cinematic polemic against rabbinic Judaism.
In Gibson's production, Jews are fleetingly depicted persecuting Christ. Brutal Roman soldiers are also shown doing bad things. I have no problem with a movie focused on what Jesus endured, rather than on an intricate exploration of the dynamic of the Pharisee-Christian confrontation; that can come later.
What Gibson's critics on the Right seem to have forgotten is that Auschwitz has replaced Calvary as the central ontological event of Western history precisely because there has been so much celluloid devoted to the inmates of Auschwitz, and little or nothing concerning the horrors the Son of God endured on the Cross. On this basis alone, the ADL and the rabbis will despise this film, which, contrary to the statements of those wishing to curry favor with the Money Power, does not whitewash or minimize the Judaic role in deicide; it's just not the focus of the movie.
Comments by timid Gibson-supporters suggesting that he shows the Romans in a worse light than Jews, or that the movie "pays tribute to Judaism" are spoken out of fear of The Lobby. Let's look at incontrovertible facts. The fact is the ADL dishonorably attacked Gibson and his octogenarian father with the usual contemptuous smear tactics, which have deeply offended Mel. As a result, he's refusing to screen his film for ADL chairman Abraham Foxman and other blind haters like him. This says far more about Gibson's mettle than statements by kosher-conservatives seeking to defend him by currying favor with the Master Race.
Coverage of this flap continues to be highly prejudicial. The Zionist authoress of the following NY Times article cannot even conceal her anti-Christian bias, and must insert a classic rabbinic put-down of the validity of the New Testament: "Mr. Gibson has said his movie will be true to the Gospel account of the last hours of Jesus' life. But Matthew, Mark, Luke and John differ greatly, presenting Rashomon-like accounts of the roles of the Romans and Jews in the Crucifixion."
Goodstein also chooses to repeat the canard that "the Romans were the occupying power and that the Jewish authorities were their agents." If Jewish authorities were the mere agents of Rome, then when Pilate sought to free Christ, his "agents" among the howling mob would have obeyed him, rather than continuing to defiantly scream "Crucify him!" Moreover, we have the Talmud's statement that the Roman authorities were sympathetic to Christ, while the Talmud describes Jesus as an "enticer" and idolater" who got what He deserved at Golgotha.
The Zionists are losing their cool, terrified at the prospect of a Hollywood director opposing their agenda by using the very medium over which they have exercised a virtual stranglehold. I love it!
After producing hundreds of racist anti-German films and pornographic filth about Jesus, such as "The Last Temptation of Christ" (distributed by MCA's Lew Wasserman despite massive Christian protests), and hit-movies where every other swear word takes the name of Christ in vain, they now have the brass, the nerve, the gall to claim that a solitary movie about Christ's sufferings will "stoke anti-Jewish violence." If that's the only card they can play in opposition to "The Passion," they're in desperate straits indeed.
True believers in the almighty power of the Zionists would never have imagined that Mel would have gotten even this far. But one wealthy and powerful man has finally stood up and exhibited the courage of his convictions. Assuming that he maintains his intrepid defiance, I predict that Mr. Gibson will overcome and expose The Lobby for the thought cops they are. Americans will then begin using as their lingua franca, the terminology the New York Times studiously avoids in reporting this controversy, and demand a halt to decades of "Jewish censorship."
==================== Months Before Debut, Movie on Death of Jesus Causes Stir By LAURIE GOODSTEIN
New York Times, August 2, 2003 [url=http://www.nytimes.com/2003/08/02/national/02GIBS.html?hp]http://www.nytimes.com/2003/08/02/national.../02GIBS.html?hp[/url]
With his movie about the death of Jesus under attack as anti-Semitic, Mel Gibson is trying to build an audience and a defense for his project by screening it for evangelical Christians, conservative Catholics, right-wing pundits, Republicans, a few Jewish commentators and Jews who believe that Jesus is the Messiah.
Mr. Gibson has poured $25 million of his money into the movie, "The Passion," calling it the most authentic and biblically accurate film about Jesus' death.
Now, seven months before its scheduled release on Ash Wednesday, the film has set off an uproar that both sides warn could undermine years of bridge building between Christians and Jews. The selected audiences who have seen the film defend it as the most moving, reverential ââ¬â and violent ââ¬â depiction of Jesus' suffering and death ever put on screen. Detractors, who have read a script but not seen the film, say it is a modern version of the medieval Passion plays that portrayed Jews as "Christ killers" and stoked anti-Jewish violence.
The dialogue is in Aramaic and Latin. Scholars say that belies the assertion of total authenticity, because the Romans spoke Greek. Mr. Gibson had said the film would not have English subtitles. But it is being screened with them, the marketing director, Paul Lauer, said, and they may remain. "The Passion" has no distributor. Mr. Lauer said "two major studios" were interested or Mr. Gibson might distribute it himself.
The controversy has been cast by many of his supporters as the Jews versus Mel Gibson. But it began when several Roman Catholic scholars voiced concern about the project because of Mr. Gibson's affiliation with a splinter Catholic group that rejects the modern papacy and the reforms of the Second Vatican Council, which in 1965 repudiated the charge of deicide against the Jews.
Mr. Gibson has been screening "The Passion" for a few weeks for friendly audiences, but has refused to show it to his critics, including members of Jewish groups and biblical scholars. In Washington, it was shown to the Web gossip Matt Drudge, the columnists Cal Thomas and Peggy Noonan and the staffs of the Senate Republican Conference and the White House Office of Faith-Based and Community Initiatives and others. In Colorado Springs, the capital of evangelical America, the film drew raves. A convention of the Legionaries of Christ, a conservative Roman Catholic order of priests, saw a preview, as did Rush Limbaugh.
Audiences wept, and many were awestruck. "Mel Gibson is the Michelangelo of this generation," said the Rev. Ted Haggard, president of the National Association of Evangelicals.
"It's going to be a classic," said Deal W. Hudson, publisher of Crisis, a conservative Catholic magazine. "It's going to be the go-to film for Christians of all denominations who want to see the best movie made about the Passion of Christ."
Mr. Gibson has said his movie will be true to the Gospel account of the last hours of Jesus' life. But Matthew, Mark, Luke and John differ greatly, presenting Rashomon-like accounts of the roles of the Romans and Jews in the Crucifixion.
A committee of Bible scholars who read a version of the script said that it was not true to Scripture or Catholic teaching and that it badly twisted Jewish leaders' role in Jesus' death. The problem, the scholars said, is not that Mr. Gibson is anti-Semitic, but that his film could unintentionally incite anti-Semitic violence.
One scholar, Sister Mary C. Boys, a professor at Union Theological Seminary in New York, said: "When we read the screenplay, our sense was this wasn't really something you could fix. All the way through, the Jews are portrayed as bloodthirsty. We're really concerned that this could be one of the great crises in Christian-Jewish relations."
Mr. Gibson, who directed and was a co-author of the script, is vehement that any criticism is based on an outdated script that was stolen. He declined an interview, and his company, Icon Productions, said it was showing the movie just to selected journalists and critics.
Mr. Gibson said in a statement: "Anti-Semitism is not only contrary to my personal beliefs; it is also contrary to the core message of my movie. `The Passion' is a film meant to inspire, not offend."
The furor began in March, when the committee of scholars, five Catholics and four Jews, asked Icon Productions to show them the script. Five scholars hold endowed chairs at their universities, and all have long been engaged in interfaith dialogue. The group was assembled by officials of the United States Conference of Catholic Bishops and the Anti-Defamation League of B'nai B'rith.
Those organizations were wary, because they had spent years drafting guidelines for ridding Passion plays of anti-Semitism. Some of the same scholars had consulted on the overhaul of the most famous Passion play, at Oberammergau, Germany.
The scholars say the other reason for concern was Mr. Gibson's strain of Catholicism. He built and belongs to a church in Los Angeles that is part of a growing but fractured movement known as "Catholic traditionalism." Considered beyond the pale even by conservatives, the traditionalists reject the Second Vatican Council and every pope since then, and they conduct Mass in Latin.
Mr. Gibson also set off alarms among the scholars when reports quoted him as saying his script had drawn on the diaries of Sister Anne Catherine Emmerich, a 19th-century mystic whose visions included extrabiblical details like having the Jewish high priest order that Jesus' cross be built in the Jewish temple.
Icon did not respond to the request to see the script. But someone leaked a copy to one of the scholars, the Rev. John T. Pawlikowski, a professor of social ethics and the director of the Catholic-Jewish Studies program at the Catholic Theological Union. Father Pawlikowski said in an interview that the script came from a friend who got it from another person whom he did not know.
The scholars sent a report to Icon complaining about the script, again receiving no response. After excerpts of the report appeared in the news media ââ¬â both sides say the other leaked it ââ¬â the scholars circulated their complaints.
"This was one of the worst things we had seen in describing responsibility for the death of Christ in many many years," Father Pawlikowski said.
In particular, the scholars objected that the Jewish priest, Caiaphas, was depicted as intimidating Pontius Pilate, the Roman governor, into going along with the Crucifixion. Several people who saw the film last month said the version they saw had that portrayal. The scholars said that section distorts the fact that the Romans were the occupying power and that the Jewish authorities were their agents.
Mr. Lauer, marketing director for Icon, said Mr. Gibson's rendering was not anti-Semitic, but simply followed the New Testament. "There are some sympathetic to Christ and some who clearly want to get rid of this guy," he said. "And that's clearly scriptural. You can't get away from the fact that there are some Jews who wanted this guy dead."
The script that the scholars read was dated October 2002, when, Mr. Lauer acknowledged, filming began. But scripts often change after shooting starts, he added.
Icon threatened to sue the scholars and the bishops' conference. The bishops soon apologized and said it had neither authorized the scholars' panel nor the report.
Mr. Gibson has sought to mend fences with the bishops. He met recently in Washington with officials of the conference and has shown the film to Cardinals Anthony Bevilacqua of Philadelphia and Francis George of Chicago, as well as Archbishop Charles J. Chaput of Denver.
But the scholars and the Anti-Defamation League have not backed down. They are pressing Mr. Gibson to show them the rough cut that he has been screening.
The national director of the Anti-Defamation League, Abraham H. Foxman, said, "If you say this is not anti-Semitic and this is a work of love and reconciliation, why are you afraid to show it to us?"
"There is no way on God's green earth," Mr. Lauer said, "that any of those people will be invited to a screening. They have shown themselves to be dishonorable."
People who have seen the movie say it is brutally graphic, dwelling at length on a scourging scene that renders Jesus a bloody piece of flesh before he is even nailed to the Cross. He is beaten with a leather strap studded with metal points that, when slapped across a tabletop, stick in the wood like spikes.
Roman soldiers administer the beating in the film, Mr. Hudson, the Catholic publisher, said. "By the time the Romans get through with him," Mr. Hudson said, "you've forgotten what the Jews might have done."
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2003-08-03 21:06 | User Profile
Originally posted by Avalanche@Aug 2 2003, 14:35 * One scholar, Sister Mary C. Boys*, a professor at Union Theological Seminary in New York, said: "When we read the screenplay, our sense was this wasn't really something you could fix. All the way through, the Jews are portrayed as bloodthirsty. We're really concerned that this could be one of the great crises in Christian-Jewish relations."
Mr. Gibson, who directed and was a co-author of the script, is vehement that any criticism is based on an outdated script that was stolen. **
More on Mary C. Boys [url=http://dragonnet.hkis.edu.hk/hosoffice/vss/scholars/boyslee/]here,[/url] [url=http://www.jcrelations.net/en/displayItem.php?id=1479]here,[/url] and [url=http://www.huc.edu/newspubs/pressroom/2003/lee.shtml]here.[/url]
2003-08-07 05:16 | User Profile
Hoffman?
The nutty author of such "classics" as: :jest:
Secret Societies and Psychological Warfare. Revised, enhanced and greatly expanded 2001 edition of this classic work, which illuminates the crimes and command ideology of the masonic Cryptocracy, where ground zero meets the zero hour in a bestial crucible of ritual murder, human alchemy and demonic invasion. Partial list of contents: Mystical Toponomy. Truth or Consequences. The Queen's Conjurer. Jack the Lodge Brother. Sci-Fi Inevitabilism. Son of Uncle Sam. Wicked King Wicker. The Group Mind. The Double Initial Murders. The Lone Nut. Twilight Language. Trinity Sight. Alchemy of Ritual Murder. The Hunimal. The Golem. Rebuilding the Third Temple. Wired to the Data Hive. The Columbine Matrix. The Ritual Aspects of Criminal Politics and much more. Quality softcover. Illustrated. 215 pages. $16.95.
Masonic Assassination One of Hoffman's earliest studies of the cryptocracy (1978), while still an undergraduate. Here are brief but penetrating analyses of the murders of three famous people killed by Freemasons--Mormon founder Joseph Smith, literary great Edgar Allan Poe and writer William Morgan. This pamphlet also includes appendices on: Alchemy in Dallas, Masonic Jurisprudence and the Ninth Degree of the Scottish Rite. Illustrated. 29 pages. $6.95
:clown:
Paging the Knights Templar and Umberto Eco...
2003-08-07 16:57 | User Profile
*Originally posted by Avalanche@Aug 2 2003, 14:35 * ** The group was assembled by officials of the United States Conference of Catholic Bishops and the Anti-Defamation League of B'nai B'rith.
Those organizations were wary, because they had spent years drafting guidelines for ridding Passion plays of anti-Semitism. Some of the same scholars had consulted on the overhaul of the most famous Passion play, at Oberammergau, Germany. **
That an abomination like this exists is in itself unbelievable.
How came it about that the original enemies of Christianity now have a voice in how Christians are allowed to depict their faith?
Where is the organisation that drafts guidelines for Jews to not offend Christians? :taz:
2003-08-07 17:05 | User Profile
Originally posted by Recluse+Aug 3 2003, 15:06 -->
QUOTE (Recluse @ Aug 3 2003, 15:06 ) <!--QuoteBegin-Avalanche@Aug 2 2003, 14:35 * One scholar, Sister Mary C. Boys*, a professor at Union Theological Seminary in New York, said: "When we read the screenplay, our sense was this wasn't really something you could fix. All the way through, the Jews are portrayed as bloodthirsty. We're really concerned that this could be one of the great crises in Christian-Jewish relations." Mr. Gibson, who directed and was a co-author of the script, is vehement that any criticism is based on an outdated script that was stolen. **
More on Mary C. Boys [url=http://dragonnet.hkis.edu.hk/hosoffice/vss/scholars/boyslee/]here,[/url] [url=http://www.jcrelations.net/en/displayItem.php?id=1479]here,[/url] and [url=http://www.huc.edu/newspubs/pressroom/2003/lee.shtml]here.[/url] **
It may be impossible to remove the cathedral statues after all these centuries, but thanks to Mary Boys it is now possible to clearly see those stone figures for what they really are: transmitters of a spiritual poison regarding Jews and Judaism.
I couldnôt make that up if I tried.