Just as Tim Robbins predicted, a “chill wind” is blowing in Hollywood… but it’s blowing in Mel Gibson’s face.
Some of the Gomorrah-by-the-Sea moguls have stated that they will never hire or work with Gibson in the future because of his self-financed film, “The Passion of The Christ.”
“Blacklisting”--the bleating battle cry of the Left for 50 years--is in fact practiced by… uh-huh, The Left.
The rising tide against Gibson began with Braveheart. The criticism sniped at the moral center of the film--the central character’s resistance to oppression and his willingness to die for his beliefs. The same hypocrites who lavished praise on Tarantino’s Pulp Fiction and Kill Bill Part I called Braveheart “gratuitously violent.” What did they think war with broadswords and arrows would look like?
Next, Gibson gave us The Patriot in which the central character (with Biblical foreshadowing) sacrifices one of his sons in the fight against brutal oppression. Worse… in avenging that murder, he puts guns in the hands of his surviving young sons who cut down as many Redcoats as they can. The usual pundits gathered their skirts about their knees and worried about “the message that sends” about guns and children.
Next, Gibson really offended with We Were Soldiers, a near-documentary film about young American’s heroism in Vietnam. The Hollywood Left (at least until John Kerry ran for president) ignored the truth of Vietnam, favoring instead, the portrayal of GIs as murderers, rapists, kooks and drug addicts… see: Apocalypse Now, Platoon, Born of the Fourth of July, Full Metal Jacket, and Casualties of War.
General Hal Moore and Joe Galloway who wrote We Were Soldiers… and Young turned down numerous movie offers before accepting Gibson’s. “We were determined that the truth be told,” Gen. Moore said.
Critics criticized Gibson for the “unbelievable” dialog in which a dying solder asks a comrade to tell his wife that he loved her. It wasn’t a line; it was actual uttered by a hero in the Ia Drang Valley.
Once more, Gibson’s theme of fidelity, faith and sacrifice--and of a devout “father’s” love for his “sons”--played through the film.
Simply, Gibson does not follow the approved Left politics of secular Hollywood and they hate him for it.
And now, he’s made a film which is clearly for him an article of faith… his faith… it is the story of Christianity.
For what it’s worth, the box-office receipts for Passion indicate that an overwhelmingly Christian society is interested in such films; it’s every bit as clear as the hypocrisy of the Hollywood.