A Bula "Quo Primum", promulgada em 1570 pelo Papa São Pio V, garante perpétua e irrevogavelmente a celebração da Missa segundo o rito tradicional latino-gregoriano, bem como a plena integridade e imutabilidade deste último. Contra ela nada valem os decretos modernistas pós-conciliares de Paulo VI. Aqui fica o seu texto:
"Pio Bispo
Servo dos Servos de Deus
Para perpétua memória
1 - Desde que fomos elevados ao ápice da Hierarquia Apostólica, de bom grado aplicamos nosso zelo e nossas forças e dirigimos todos os nossos pensamentos no sentido de conservar na sua pureza tudo o que diz respeito ao culto da Igreja; o que nos esforçamos por preparar e, com a ajuda de Deus, realizar com todo o cuidado possível.
2 - Ora, entre outros decretos do Santo Concílio de Trento cabia-nos estabelecer a edição e correcção dos livros santos: Catecismo, Missal e Breviário.
3 - Com a graça de Deus, já foi publicado o Catecismo, destinado à instrução do povo, e corrigido o Breviário, para que se tributem a Deus os devidos louvores. Outrossim, para que ao Breviário correspondesse o Missal, como é justo e conveniente (já que é soberanamente oportuno que, na Igreja de Deus, haja uma só maneira de salmodiar e um só rito para celebrar a Missa), parecia-nos necessário providenciar, o mais cedo possível, o restante desta tarefa, ou seja, a edição do Missal.
4 - Para tanto, julgamos dever confiar este trabalho a uma comissão de homens eruditos. Estes começaram por cotejar cuidadosamente todos os textos com os antigos de nossa Biblioteca Vaticana e com outros, quer corrigidos, quer sem alteração, que foram requisitados de toda parte. Depois, tendo consultado os escritos dos antigos e de autores aprovados, que nos deixaram documentos relativos à organização destes mesmos ritos, eles restituíram o Missal propriamente dito à norma e ao rito dos Santos Padres.
5 - Este Missal assim revisto e corrigido, Nós, após madura reflexão, mandamos que seja impresso e publicado em Roma, a fim de que todos possam tirar os frutos desta disposição e do trabalho empreendido, de tal sorte que os padres saibam de que preces devem servir-se e quais os ritos, quais as cerimónias, que devem observar doravante na celebração das Missas.
6 - E a fim de que todos, e em todos os lugares, adoptem e observem as tradições da Santa Igreja Romana, Mãe e Mestra de todas as Igrejas, decretamos e ordenamos que a Missa, no futuro e para sempre, não seja cantada nem rezada de modo diferente do que esta, conforme o Missal publicado por Nós, em todas as Igrejas: nas Igrejas Patriarcais, Catedrais, Colegiais, Paroquiais, quer seculares quer regulares, de qualquer Ordem ou Mosteiro que seja, de homens ou de mulheres, inclusive os das Ordens Militares, igualmente nas Igrejas ou Capelas sem encargo de almas nas quais a Missa conventual deve, segundo o direito ou por costume, ser celebrada em voz alta com coro, ou em voz baixa, segundo o rito da Igreja Romana, ainda quando estas mesmas Igrejas, de qualquer modo isentas, estejam munidas de um indulto da Sé Apostólica, de costume, de um privilégio, até de um juramento, de uma confirmação apostólica ou de quaisquer outras espécies de faculdades. A não ser que, ou por uma instituição aprovada desde a origem pela Sé Apostólica, ou então em virtude de um costume, a celebração destas Missas nessas mesmas Igrejas tenha um uso ininterrupto superior a 200 anos. A estas Igrejas Nós, de maneira nenhuma, suprimimos nem a referida instituição, nem seu costume de celebrar a Missa; mas, se este Missal que acabamos de editar lhes agrada mais, com o consentimento do Bispo ou do Prelado, junto com o de todo Capítulo, concedemos-lhes a permissão, não obstante quaisquer disposições em contrário, de poder celebrar a Missa segundo este Missal.
7 - Quanto a todas as outras sobreditas Igrejas, por Nossa presente Constituição, que será valida para sempre, Nós decretamos e ordenamos, sob pena de nossa indignação, que o uso de seus missais próprios seja suprimido e sejam eles radical e totalmente rejeitados; e, quanto ao Nosso presente Missal recentemente publicado, nada jamais lhe deverá ser acrescentado, nem suprimido, nem modificado. Ordenamos a todos e a cada um dos Patriarcas, Administradores das referidas Igrejas, bem como a todas as outras pessoas revestidas de alguma dignidade eclesiástica, mesmo Cardeais da Santa Igreja Romana, ou dotados de qualquer outro grau ou preeminência, e em nome da santa obediência, rigorosamente prescrevemos que todas as outras práticas, todos os outros ritos, sem excepção, de outros missais, por mais antigos que sejam, observados por costume até o presente, sejam por eles absolutamente abandonados para o futuro e totalmente rejeitados; cantem ou rezem a Missa segundo o rito, o modo e a norma por Nós indicados no presente Missal, e na celebração da Missa, não tenha a audácia de acrescentar outras cerimónias nem de recitar outras orações senão as que estão contidas neste Missal.
8 - Além disso, em virtude de Nossa Autoridade Apostólica, pelo teor da presente Bula, concedemos e damos o indulto seguinte: que, doravante, para cantar ou rezar a Missa em qualquer Igreja, se possa, sem restrição seguir este Missal com permissão e poder de usá-lo livre e licitamente, sem nenhum escrúpulo de consciência e sem que se possa incorrer em nenhuma pena, sentença e censura, e isto para sempre.
9 - Da mesma forma decretamos e declaramos que os Prelados, Administradores, Cónegos, Capelães e todos os outros Padres seculares, designados com qualquer denominação, ou Regulares, de qualquer Ordem, não sejam obrigados a celebrar a Missa de outro modo que o por Nós ordenado; nem sejam coagidos e forçados, por quem quer que seja, a modificar o presente Missal, e a presente Bula não poderá jamais, em tempo algum, ser revogada nem modificada, mas permanecerá sempre firme e válida, em toda a sua força.
10 - Não obstante todas as decisões e costumes contrários anteriores, de qualquer espécie: Constituições e Ordenações Apostólicas, ou Constituições e Ordenações, tanto gerais como especiais, publicadas em Concílios Provinciais e Sinodais; não obstante também o uso das Igrejas acima enumeradas, ainda que autorizado por uma prescrição bastante longa e imemorial, mas que não remonte a mais de 200 anos.
11 -Queremos e, pela mesma autoridade, decretamos que, depois da publicação de Nossa presente Constituição e deste Missal, todos os padres sejam obrigados a cantar ou celebrar a Missa de acordo com ele: os que estão na Cúria Romana, após um mês; os que habitam aquém dos Alpes, dentro de três meses; e os que habitam além das montanhas, após seis meses ou assim que encontrem este Missal à venda.
12 - E para que em todos os lugares da Terra este Missal seja conservado sem corrupção e isento de incorrecções e erros, por nossa Autoridade Apostólica e em virtude das presentes, proibimos a todos os impressores domiciliados nos lugares submetidos, directa ou indirectamente, à Nossa autoridade e à Santa Igreja Romana, sob pena de confiscação dos livros e de uma multa de 200 ducados de ouro, pagáveis à Câmara Apostólica, bem como aos outros domiciliados em qualquer outro lugar do mundo, sob pena de excomunhão ipso facto e de outras penas a Nosso alvitre, se arroguem, por temerária audácia, o direito de imprimir, oferecer ou aceitar esta Missa, de qualquer maneira, sem nossa permissão, ou sem uma licença especial de um Comissário Apostólico por Nós estabelecido, para estes casos, nos países interessados, e sem que antes, este Comissário ateste plenamente que confrontou com o Missal impresso em Roma, segundo a impressão típica, um exemplar do Missal destinado ao mesmo impressor, que lhe sirva de modelo para imprimir os outros, e que este concorda com aquele e dele não difere absolutamente em nada.
13 - E como seria difícil transmitir a presente Bula a todos os lugares do mundo cristão e leva-la imediatamente ao conhecimento de todos, ordenamos que, segundo o costume, ela seja publicada e afixada às portas da Basílica do Príncipe dos Apóstolos e da Chancelaria Apostólica, bem como no Campo de Flora. Ordenamos igualmente que aos exemplares mesmo impressos desta Bula, subscritos pela mão de um tabelião público e munidos, outrossim, do Selo de uma pessoa constituída em dignidade eclesiástica, seja dada, no mundo inteiro, a mesma fé inquebrantável que se daria à presente, caso mostrada ou exibida.
14 - Assim, portanto, que a ninguém absolutamente seja permitido infringir ou, por temerária audácia, se opor à presente disposição de nossa permissão, estatuto, ordenação, mandato, preceito, concessão, indulto, declaração, vontade, decreto e proibição.
Se alguém, contudo, tiver a audácia de atentar contra estas disposições, saiba que incorrerá na indignação de Deus Todo-poderoso e de seus bem aventurados Apóstolos Pedro e Paulo.
Dado em Roma perto de São Pedro, no ano da Encarnação do Senhor mil quinhentos e setenta, no dia 14 de Julho, quinto de Nosso Pontificado - Pio Papa V."
domingo, fevereiro 29, 2004
sábado, fevereiro 28, 2004
A Lei
Todos nós devemos obediência à Lei justa. Lei justa é a que é ordenada ao bem comum. Se sabemos o que é bem comum, sabemos qual é a Lei que o tem por objectivo.
(…)
E se a verdade é só uma, se a doutrina é só uma, eu não posso reconhecer os mesmos direitos à verdade e ao erro, à doutrina sagrada e à doutrina condenada.
Onde está o Mal, posso e devo exigir que me deixem levar o Bem.
Onde está o Bem - quem pode pedir que lhe deixem levar o Mal?
A Lei vale, não porque é Lei, mas pela soma de serviços que presta ao bem comum. Se esses serviços são nulos, o valor da Lei é nulo; se a Lei desserve o bem comum, a Lei é prejudicial. E as Leis prejudiciais como elementos de sedição pública, têm de ser revogadas por todos os meios ao nosso alcance.
Alfredo Pimenta - 1925
(…)
E se a verdade é só uma, se a doutrina é só uma, eu não posso reconhecer os mesmos direitos à verdade e ao erro, à doutrina sagrada e à doutrina condenada.
Onde está o Mal, posso e devo exigir que me deixem levar o Bem.
Onde está o Bem - quem pode pedir que lhe deixem levar o Mal?
A Lei vale, não porque é Lei, mas pela soma de serviços que presta ao bem comum. Se esses serviços são nulos, o valor da Lei é nulo; se a Lei desserve o bem comum, a Lei é prejudicial. E as Leis prejudiciais como elementos de sedição pública, têm de ser revogadas por todos os meios ao nosso alcance.
Alfredo Pimenta - 1925
"The Passion"
Começam a aparecer as primeiras críticas ao filme "The Passion", realizado por Mel Gibson, que certa polícia do pensamento politicamente correcto não queria que víssemos. Nesta matéria, merece a nossa especial atenção tudo o que venha da comunicação social independente, daquela que não beneficia do estatuto de "referência". Aqui fica a opinião - longa, mas interessante - de Michael Cain, editor do notável "Daily Catholic" , cuja visita ao respectivo sítio se recomenda vivamente:
"All went dark. Absolute silence slippered across the theater in anxious, yes, nervous anticipation.
The lightning flashed across the screen, a visual manifestation each and every person was going to feel the bolt of love and emotions proper for each's disposition and heart. I may hold the record for being the fastest to shed a tear in this movie for indeed my eyes moistened as the bolt melded into one of the countless parchment cracks in the magnificent close-up of the eye of Our Lady of Perpetual Help and pulled out to reveal the very Catholic logo of Icon Films, quite possibly until now not deciphered for what it is - a beautiful imprinted manifestation of Mel Gibson's Traditional Catholic Faith. That very thought is what prompted the tear-ducts. Now, finally so many would be able to understand this.
The opening scenes in Gethsemane prompted more tears for it was very obvious Jesus Christ, played flawlessly to absolute perfection by Jim Caviezel, had begun His Passion. The First Sorrowful Mystery kicked in and I could feel Our Lord's pain as He struggled with the mission ahead, the humanness of the God-man came to the fore for He was like us in all ways except for sin.
Right from the start Mel's genius shone through with his depiction of the ever-present entity called evil. An androgynous being most likely in the same form that tempted Christ in the desert had returned to try to plant doubts in our Savior's heart. Whispered scruples and qualms echoed from this browless being whose effeminate nature became even more obvious with the almost transvestite voice of the evil one. The altering of Rosalinda Celentano's voice conveyed an even more dissolute character. No one has brought that up, but knowing how much Mel is against the sin of sodomy I almost wonder if this was not another stroke of brilliance in depicting the ugly side of homosexuality, subliminally planting in the viewer's psyche this image. Then again it could have been the Holy Ghost's inspiration that prompted Mel to choose such a representation.
From beneath the hooded cloak of this maggot-nosed asexual one slithered a snake which serpentined toward the agonized figure of the Christ, bleeding tears and still struggling with His inevitable mission. The hooded figure looked on, flirting with the possibility that He would forfeit the task ahead and be lured to retreat. On a lesser person the doubts cast might have been convincing, but when you're dealing with the Sacred Heart, well, satan, you've met your match as Gibson brought home so staccato-like when Christ rose to His feet and emphatically crushed the head of the serpent.
This scene had to please Protestants who have always maintained that Genesis 3: 15 indicated Christ would crush the head of the serpent whereas the Douay-Rheims Version says clearly, "I will put enmities between thee and the woman, and thy seed and her seed: she shall crush thy head, and thou shalt lie in wait for her heel." Yet it was not worth it to quibble over for soon we would see Mel's reasoning for throughout the picture Blessed Mary, played so masterfully and convincingly by Romanian Jewish thespian Maia Morgenstern, would play an integral part in the Passion as a viable Co-Redemptrix. Indeed, the Sorrowful Mother would wince with every blow to her Divine Son's flesh. The viewer could so easily assimilate with Mary the sorrow and immense tearing of one's own heart for true to Simeon's prophecy in Luke 2: 32, 34-35:
"A light to the revelation of the Gentiles, and the glory of thy people, Israel...Behold, this child is set for the ruin, and for the resurrection of many in Israel, and for a sign which shall be contradicted. And thy own soul a sword shall pierce, that out of many hearts thoughts may be revealed."
So much was revealed in this film that had remained static in this writer's mind for with each scene a new dimension was introduced into my heart and soul, and yes, the tears were still there; not floods, or trickles, just a moistening that I would dab every once in a while. And I was worried about Cyndi!? Truly kudos to Benedict Fitzgerald who co-wrote the screenplay with Mel.
The course each took once the Jews descended on the Garden of Olives was interesting and flowed so as did the entire film. It was as if Mel's masterpiece was a seamless garment just as Christ's cloak, bloodied and smudged, but never torn. Truly a production as Christ-like as possible in perfection.
Saint John and Saint James both fled, but Saint Peter remained to fight for his Master. Peter's chutzpah turned to cowardice when Christ put the kibosh on the brash Apostle's attempts to go down fighting, by healing the Jewish soldier's ear; the first outward sign of love that would flow often. How could anyone claim 'anti-Semitism' is still beyond me. But then, it isn't anti-Semitic, it is anti-Secular. That is obvious and that is another reason the attacks against Mel have been so vitriolic. I found it interesting about the players who accompanied Judas Iscariot because I think many had always assumed there were Roman soldiers escorting the Jewish agents to Mount Olivet. Not so this night, so eerily painted by Production Director Francesco Frigeri and cinematographer extraordinaire Caleb Deschanel in the cerulean clouds and sapphire shadows blending with the haunting musical score of John Denby that carried throughout the picture with yet another dimension that enveloped the viewer and pinched the heart.
By the time the beloved disciple burst into the kibbutz of the Marys, I was already enraptured in this film. Gibson conveyed in just one look by Morgenstern a modesty and majesty that transcended all other women. In appearance Mary Magdalene, played effortlessly by well-known Hollywood up-and-comer Monica Belluci, was the younger and more beautiful in features, yet her beauty always took a subservient role in any scene with the Blessed Mother. Mary's motherly virtue and love towered above the rest and the bond was established between Mother and son so masterfully through brief flashbacks which Mel no doubt gleaned from the Venerable Anne Katherine Emmerich and The Dolorous Passion of Christ.
The intercutting scenes of the two tormented betrayers were brilliant and conveyed so well the paths two men both hand-chosen by Christ took. Relatively unknown Italian actor Luca Lionello nailed the crazed Judas Iscariot for he exhibited an almost dazed state from scooping up the scattered silver from the temple floor to approaching Jesus in the Garden. While Peter, so well carried out by Francesco De Vito and effulgently photographed by Gibson's touch in casting shadows over his countenance and dark beard extracted the soul of the one Christ had selected to lead His Church (cf. Matthew 16: 18-19). Peter's scenes went quickly and played out not separately but fittingly intertwined with all the major principals within earshot of the Sanhedrin kangaroo court and all within that span, before the cock crowed thrice. The salvific factor depicted in the film was that both men fled, but Peter ran smack into the two Mary's and John, cowering in unworthiness. Whereas Judas recoiled at the base of a wall where symbolically the Jewish soldiers had their own 'fun' on the way to the temple by bungee-cording Christ over the wall on chains upside down where his gaze met Judas' eye to eye in the dark climes of this hollow. Our Lord's eyes were piercing the Iscariot's heart, waiting and hoping for the fallen Apostle to drop on his knees in repentance as Peter did, but despair had already taken hold. No sooner had they jerked our Savior back up then a demon emerged from the opposite wall that took the entire theatre by surprise. While it scared not just a few, it sent Judas on his journey of fate.
Here Gibson again used the image of an innocent child turned mean and taunting. We have heard so often "children can be so mean" when hearing tales of a child being hounded by other classmates and made fun of over something that often was a molehill but made into a mountain by the accused one's self-consciousness and decreasing self-worth in the face of pressure from peers. The insecurities of the attackers causes them to turn as one into unfettered frenzy. This vein coursed throughout the film from the children to the accusations by the Pharisees to the mob in the Roman courtyard to the Roman soldiers intoxicated with a lust to punish the more the blood flowed.
First the children was the vehicle Mel chose to drive Judas up the rocky crevice to the point of no return. At the summit, he chose the stench-soaked hemp which he had to lift from a dead sheep at his feet to end his life both in despair and to rid himself of the demons who had driven him to the edge. Gibson's selection of the maggot-ridden lamb scripturally portrayed the bad sheep who, steeped in sin are inside no different than the Pharisees - rotting sepulchres teeming with worms as Christ asserted to the Sanhedrin in Matthew 23 that within there was "all uncleanness...full of hypocrisy and iniquity" (verses 27, 28).
In all my studies of Sacred Scripture, the Chief Priest Caiphas, depicted dead on by Mattia Sbragia, was the main instigator of revenge for being exposed by Christ's lambasts in Matthew 23. One needs to understand that entire chapter to realize why Caiphas was clearly signaled out as the chief villain of this film and rightly so. It in no way signaled anti-Semitism, but an exposition of how corruption comes from the top and works down, rather than the other way around. It was Caiphas who orchestrated the emotions of his fellow Rabbis within the Sanhedrin in impugning and executing one of their own. I couldn't help but think of the same scenario carried out by the Vatican II Curia who had ganged up against Archbishop Marcel Lefebvre, falsely condemning an innocent man because he was who he said he was - an uncompromising disciple of the Truths and Traditions handed down by Christ and His Church. Unfortunately some of those men still are in power today. Yes, folks, the Sanhedrin of 2000 years ago is still alive and thriving in modern Rome.
Rather than the anti-Semitic charge, I can see a clearer message of anti-Vatican II throughout. There's no harm in that and more power to Mel. It's about time. I find it so difficult and sad to believe that the Pope would hesitate from giving a hearty endorsement to this film for it is Catholic in every way, maybe too Catholic for his likes and agenda. Those casting aspersions on the film, such as Abe Foxman and Rabbi Marvin Hier and a host of other liberal media elite have cast their fate with the misguided direction of humanism, ecumenism and Modernism spawned at Vatican II in compromising the truth of the Gospels. One thing Gibson did not veer from was the authenticity of the historical events and costumes of that time so meticulously recreated down to the last thread by costume designer Maurizio Millenotti. The production design of Francesco Frigeri and the sets fashioned by Carlo Gervasi were so authentic that I did not feel I was watching this but very much in the center of it all - in that extra dimension that transcends time and reason. Mel's choice of Shaila Rubin, a Jew, as casting director was sheer brilliance for she was the one who found Morgenstern and the vast majority of other characters who blended in as the actual biblical figures, not actors. Yes, there was a definite spirit at work here - the Holy Spirit.
The Scourging at the pillar was probably the cruelest and most grueling scenes in the entire movie for they were the first act of brutality so graphically portrayed. Indeed, the tears increased with each lash and no meditation on the Second Sorrowful Mystery ever brought to fruition the emotions that I experienced in feeling those whips and sharp barbs that instantly swelled up a lifetime of repentance for any uncharitable barb I had every uttered throughout my life. Yes, I felt no better than the Romans who, at the sight of blood, only intensified their passion for more blood. The frenzy is contagious for evil, but the frenzy within my heart was to ever remember the frenzy of Faith that spurs us on to never turn back. The realization struck me right there as the blood spurted onto the cobble that for Christ there was no point of return. He was committed and so were we. Just as we forever walked out of the Novus Ordo on Ash Wednesday exactly three years ago, there would be no turning back. We are forever committed to upholding the Traditions and dedicated to preserving the Traditional Latin Mass and all that was professed before the revolution. Anything less is disloyalty and betrayal. I must admit the Scourging was the hardest part of this movie. True to his word, Mel took me to the edge and then, just when I might have gone numb, he revived my senses with flashbacks from associations cropping up in Christ's Own psyche from His viewpoint while He writhed in pain, such as the feet of the Roman soldier that brought back the scene of Christ washing the feet of His Apostles. No foot was too dirty for Christ, just as no soul is too lost for Him to save. The person has only be willing to put his or her foot forward, extended toward God. These brief scenes gave me a respite so that I would be able to endure the next scene when the reality of the Passion returned in all its ugly necessity.
As the Scourging mercifully came to an end I couldn't help but think how anti-Vatican II this film is for it attacks the very comfort zone of those who have embraced the 'Jesus is love and tolerant of all' fallacy that has been so insidiously imbued in the dumbed-down masses who have had the Holy Mass ripped from their parishes. Sacrifice is something few neo-Catholics are familiar with, even fewer with the essence of the lengths and torture Jesus underwent and why He suffered more than any human on the face of this earth for all time. That was the cost of making reparation for our sins. It magnified all the more in my mind how devastating sin is and that, too, is something so lost on today's society and church. Though the fruits of His Redemption merited for all the reward of Heaven, that could only be carried out in full for those willing to reciprocate that sacrifice by being in the state of sanctifying grace and through a sincere heart manifested in good works. Ergo the infrangible words within the Consecration of the wine into blood - 'pro multis' - for many, rather than 'for all.' Free will prevents the 'all.' For countless Catholics, what they will see on the screen is not the Christ and story they have been taught over the past 40 years, but it is the vision and truth we, who were brought up in the pre-Vatican II days, recall so vividly.
By the time we reach the Third Sorrowful Mystery in the film the scene is mercifully short, for Christ has already been reduced to a pulp, slunk against the wall almost helpless to resist the cruel crown of thorns the Roman soldiers gleefully and intoxicatingly force into His sacred skull.
Meanwhile, all the furor and controversy over the 'inciting phrase' of Matthew 27: 25 was muted by removing the subtitle "His blood be on us and on our children." Many might think Mel caved. Indeed, I at first thought that as well until I experienced this film. Gibson clearly conveyed the sentiments of the crowd in the scene, not a guilty sentence on them alone but upon all of us. As I have pointed out before this was not a condemnation on the Jews but upon all. Few bring up the fact of last Sunday's Gospel wherein Luke 18: 32-33, Jesus foretells his Own destiny:
"He shall be delivered to the Gentiles, and shall be mocked, and scourged and spit upon: and after they have scourged Him, they will put Him to death, and the third day He shall rise again."
You'll note Christ did not say 'delivered to the Jews' but to the "Gentiles." Any accusations of anti-Semitism are trumped up and false and proven here as such. The scene of Pontius Pilate's wife Claudia Procles, portrayed by Claudia Gerini, is a powerful reminder of conscience. She takes fresh linens to Mary in an alcove near the courtyard where the Blessed Mother, accompanied by the Magdalen, lovingly but painfully accepts the gift. It is as if both Claudia and Mary are one in knowing what needed to be done next. Here Mel subliminally, yet graphically illustrates the merciful Mother who does not hesitate in soaking up the spattered blood on the floor of the pillar courtyard in the aftermath of the Scourging. In this act she is accepting the responsibility of carrying the concerns of His children, gathering as much blood on the linens as possible so that more will be saved. Truly a sign of Mediatrix, Advocate and CoRedemptrix. After a while, Mary Magdalene joins in helping Our Lady blot up the blood, an exemplification of the Communion of Saints.
The scenes of Pilate washing his hands tied in naturally with Christ washing His hands at the Last Supper just as every priest purifies his hands at the Lavabo in the Holy Sacrifice of the Mass. The paradox was obvious: while Pilate's 'cleansing' was to avoid responsibility, the pure sacerdotal ritual of the celebrant is to accept the august responsibility of cleansing himself and the hearers at Holy Mass of their venial sins through the merits won for us by Christ's Passion and Death and renewed in the unbloody sacrifice each day.
Once the heavy wood was slammed down on Christ's shoulder, those stations at Assumption parish came alive. They had forever left their static state and that other dimension rose to the surface. The cinematography of these scenes were stunning and the make-up of Caviezel was impeccable in all its ungodly ugliness so magnificently created by make-up artists Keith Vanderlaan, Christien Tinsley, Vincenzo Mastrantonio, Greg Cannom, Mary Kim, Mario Michisanti, Kelley Mitchell, Brandon Reininger, Brian Sipe, and a host of others in the make-up department that should be considered for many cinematic awards in the coming year.
With every step I was thrust into the middle of the Via Crucis that, until now, I never could quite experience in full as my mind wafted back to that time long ago inside Assumption church when I was trying not to inhale the incense wafting up from the thurible as we prayed at each station and moved on, then genuflecting to the words "We adore Thee, O Christ, and we bless Thee," as we responded on our knee "Because by Thy holy cross Thou hast redeemed the world."
By the time the procession began winding up the Via Dolorosa, Caviezel had already become Christ in my mind and, I would suspect, everyone else's in the theater. There was no delineation, so convincing a role had he achieved. I cringed and wept each time Our Lord toppled and thought how could anyone go on? And I felt with Mary as she tried to get closer to her Divine Son. Here Mel brought the uniqueness of the Mother of God to a new height where the audience could see and feel what Mary experienced. Only Our Lord and Our Lady could actually see the evil one gliding effortlessly behind the Sanhedrin and other onlookers standing to the side as Christ passed. When Mary made it evident she could see the androgynous evil hooded one, it disappeared in flight behind another figure. Satan will never look the Blessed Mother or her Divine Son in the eye. He cannot. Thus we should realize the devil cannot harm us if we are anchored to Christ and His Mother. Tempted yes, but not harmed if we resist. Grace enables this.
It was a masterful touch Gibson employed that motivated Mary to rush toward her Son as any mother would at the sight of her Divine Son falling under the heaviness of the cross just yards away from where she was standing in the narrow alleyway. Mel used a flashback memory of Jesus as a child twisting his ankle. Mary dropped everything and rushed to his aid. Truly a touching respite from the agony that was yet to come.
The brilliant tie-in of the marital bond of Veronica and Simon of Cyrene, powerfully portrayed by Jarreth Merz was a magnificent segue of the fifth and sixth stations and here Mel carried Simon's part further, not just helping for a short ways, but all the way to the summit of Golgotha. I watched with a keen eye as Christ passed by Veronica. Sure enough the veil she held in her delicate hands bore the imprint of our Savior's countenance in blood. Here I could sense the very essence that J.R.R. Tolkien was depicting in his 'Lord of the Rings - Return of the King' so wonderfully recreated by Peter Jackson. Simon turned into a Samwise Ganges aiding Frodo. The difference here is that Sam was the determined one, just as Christ was; Frodo was the hesitant, fearful one, just as was Simon. But in the end love and courage triumphed. Simon, very noticeably singled out in an earlier scene as being despised by the Roman soldier as a Jew, turned out a heroic character for, though reluctantly, he took up the cross and set an example for each one of us to do likewise. Hardly anti-Semitic.
The scene of Simon descending the hill and the two Mary's and John ascending the summit simultaneously was symbolic for that was their role to stand with Him to the bitter end. And it was bitter from the hammering of the spikes into his tender flesh to the jerking of His shoulder to reach the pre-drilled mark on the right beam of the cross. Here Mel took the audience to the edge again with the Romans slamming the cross over, suspending Our Lord helplessly hanging horizontally just a foot off the ground as they positioned the wood to slip it into the pre-dug hole in the gravel. The thud sent shudders through my heart and a few more tears escaped and rolled down my cheeks. Unashamedly I brushed them away, but ashamed that if maybe I had striven to be more holy perhaps it wouldn't have been as painful for Christ. Yet, we all know it was our collective sin that forced Him to undergo this ultimate sacrifice. Yet the personal scruples continuously pecked away at my psyche just as the crow settled on the crossbeam above the bad thief. You could see the next scene coming and reminded me of Christ's warning that it would be better that one pluck out his eye, rather than sin. Yet the sinner who hung on Christ's right (I had always pictured the bad thief on the left and Dismas, the good thief on the right - guess it depends on which perspective one looks at it - from ours or God's.) was unrepentant to the end, and his derision of Christ received a swift and painful punishment. I could not help but think about those who had so maliciously put this film down and questioned Mel Gibson's own integrity how they would be eating crow for quite some time.
I could have smirked at this, but I was to engulfed in the crucifixion at this point as though I was there in person. The Seven Last words were true to the Gospel and the camera work magnificent. I swear I could feel the sweat and was even tempted to check my hands and face for splattered blood. It was only the moisture of tears.
To me the stroke of true cinematic brilliance, surpassing even that of Orson Welles' classic Citizen Kane, was Mel's utilization of a long distance shot from above. At first the scene was surrealistic and hovered there for an interminable time and then a drop reflecting the same scene plummeted downward away from the camera's angle and I recognized immediately what it was as it crashed to the foot of the cross, splashing outward. It was the single Tear of the Father above - from the "eye of God" as tomorrow's Introit says "Oculus Dei" - just before the Heavens opened and unleashed the storm of nature, rain and a temblor that rent the temple floor in half and shook all of Jerusalem. The ensuing scene provided ineffable proof that satan had lost as once again from the Almighty Father's perspective the same ground was now a carmine carpet of parched earth with the androgynous one writhing and screeching in painful acknowledgment of defeat. Hell had been emptied by the redemption of His Son.
The piercing of His Sacred Heart was a moving scene as blood and water gushed forth as a fountain of Divine Mercy for all, splashing on not only the centurion who had thrust the lance, but on the Mary's, John and many nearby. There was even a brief glimpse on Caiphas' countenance just a few scenes earlier that hinted recognition in his own hardened heart that he had realized the gravity of his actions and regretted them. One can always hope he did repent.
The Pieta scene brought to a close my journey of the Stations of the Cross there at Assumption church 50 years ago. Never again will I look upon these images in a distanced way as if I am looking on something, but now it will come alive and immerse me fully in the experience and help me grow in grace and understanding.
The brief Resurrection scene was a nice touch, the lighting magnificent and I was a bit surprised that the scene actually showed Caviezel healed and ready to emerge from the tomb because I was expecting, from the camera angle and shadowing that we would see the shadow of Christ going forth into the light and fade out in that manner. But then that was my creative imagination grasping at the way I might film it. But who am I kidding, I would be an apprentice beginner bumbling before the true master so inspired by the Holy Ghost - of that there is no doubt. I can only get down on my knees and thank God for sending Mel Gibson into the world at this time to produce the most magnificent masterpiece since the Original nearly 2000 years ago. There really is no proper adjective to absolutely do 'The Passion of The Christ' full justice except that "By their fruits you shall know them" (Matthew 7: 20).
The New York Times, not surprisingly, has panned the picture as "an assault on the spirit." I would term it totally the opposite. For as Christ has assured in Matthew 15: 13, Mark 9: 50 and Luke 14: 34, the salt must not lose its savor or it will be worthless. Not so with Mel's project of a lifetime. Souls will be won for Christ. It is truly a Triumph, quite possibly the greatest since Saint Francis of Assisi followed Christ's charge to "Rebuild My Church." Mel has begun now it is up to all of us to continue the track to bringing others back to Truth and Tradition. Ted Koppel of ABC's Nightline has publicly gone on record as saying there won't be any conversions as a result of this film. I beg to differ. Not only is Mel Gibson truly the Michelangelo of the 21st Century, but his film will never lose its savor for it is filled with the Spirit of Christ. Truly 'The Passion of The Christ' is the Salt of The Spirit!"
"All went dark. Absolute silence slippered across the theater in anxious, yes, nervous anticipation.
The lightning flashed across the screen, a visual manifestation each and every person was going to feel the bolt of love and emotions proper for each's disposition and heart. I may hold the record for being the fastest to shed a tear in this movie for indeed my eyes moistened as the bolt melded into one of the countless parchment cracks in the magnificent close-up of the eye of Our Lady of Perpetual Help and pulled out to reveal the very Catholic logo of Icon Films, quite possibly until now not deciphered for what it is - a beautiful imprinted manifestation of Mel Gibson's Traditional Catholic Faith. That very thought is what prompted the tear-ducts. Now, finally so many would be able to understand this.
The opening scenes in Gethsemane prompted more tears for it was very obvious Jesus Christ, played flawlessly to absolute perfection by Jim Caviezel, had begun His Passion. The First Sorrowful Mystery kicked in and I could feel Our Lord's pain as He struggled with the mission ahead, the humanness of the God-man came to the fore for He was like us in all ways except for sin.
Right from the start Mel's genius shone through with his depiction of the ever-present entity called evil. An androgynous being most likely in the same form that tempted Christ in the desert had returned to try to plant doubts in our Savior's heart. Whispered scruples and qualms echoed from this browless being whose effeminate nature became even more obvious with the almost transvestite voice of the evil one. The altering of Rosalinda Celentano's voice conveyed an even more dissolute character. No one has brought that up, but knowing how much Mel is against the sin of sodomy I almost wonder if this was not another stroke of brilliance in depicting the ugly side of homosexuality, subliminally planting in the viewer's psyche this image. Then again it could have been the Holy Ghost's inspiration that prompted Mel to choose such a representation.
From beneath the hooded cloak of this maggot-nosed asexual one slithered a snake which serpentined toward the agonized figure of the Christ, bleeding tears and still struggling with His inevitable mission. The hooded figure looked on, flirting with the possibility that He would forfeit the task ahead and be lured to retreat. On a lesser person the doubts cast might have been convincing, but when you're dealing with the Sacred Heart, well, satan, you've met your match as Gibson brought home so staccato-like when Christ rose to His feet and emphatically crushed the head of the serpent.
This scene had to please Protestants who have always maintained that Genesis 3: 15 indicated Christ would crush the head of the serpent whereas the Douay-Rheims Version says clearly, "I will put enmities between thee and the woman, and thy seed and her seed: she shall crush thy head, and thou shalt lie in wait for her heel." Yet it was not worth it to quibble over for soon we would see Mel's reasoning for throughout the picture Blessed Mary, played so masterfully and convincingly by Romanian Jewish thespian Maia Morgenstern, would play an integral part in the Passion as a viable Co-Redemptrix. Indeed, the Sorrowful Mother would wince with every blow to her Divine Son's flesh. The viewer could so easily assimilate with Mary the sorrow and immense tearing of one's own heart for true to Simeon's prophecy in Luke 2: 32, 34-35:
"A light to the revelation of the Gentiles, and the glory of thy people, Israel...Behold, this child is set for the ruin, and for the resurrection of many in Israel, and for a sign which shall be contradicted. And thy own soul a sword shall pierce, that out of many hearts thoughts may be revealed."
So much was revealed in this film that had remained static in this writer's mind for with each scene a new dimension was introduced into my heart and soul, and yes, the tears were still there; not floods, or trickles, just a moistening that I would dab every once in a while. And I was worried about Cyndi!? Truly kudos to Benedict Fitzgerald who co-wrote the screenplay with Mel.
The course each took once the Jews descended on the Garden of Olives was interesting and flowed so as did the entire film. It was as if Mel's masterpiece was a seamless garment just as Christ's cloak, bloodied and smudged, but never torn. Truly a production as Christ-like as possible in perfection.
Saint John and Saint James both fled, but Saint Peter remained to fight for his Master. Peter's chutzpah turned to cowardice when Christ put the kibosh on the brash Apostle's attempts to go down fighting, by healing the Jewish soldier's ear; the first outward sign of love that would flow often. How could anyone claim 'anti-Semitism' is still beyond me. But then, it isn't anti-Semitic, it is anti-Secular. That is obvious and that is another reason the attacks against Mel have been so vitriolic. I found it interesting about the players who accompanied Judas Iscariot because I think many had always assumed there were Roman soldiers escorting the Jewish agents to Mount Olivet. Not so this night, so eerily painted by Production Director Francesco Frigeri and cinematographer extraordinaire Caleb Deschanel in the cerulean clouds and sapphire shadows blending with the haunting musical score of John Denby that carried throughout the picture with yet another dimension that enveloped the viewer and pinched the heart.
By the time the beloved disciple burst into the kibbutz of the Marys, I was already enraptured in this film. Gibson conveyed in just one look by Morgenstern a modesty and majesty that transcended all other women. In appearance Mary Magdalene, played effortlessly by well-known Hollywood up-and-comer Monica Belluci, was the younger and more beautiful in features, yet her beauty always took a subservient role in any scene with the Blessed Mother. Mary's motherly virtue and love towered above the rest and the bond was established between Mother and son so masterfully through brief flashbacks which Mel no doubt gleaned from the Venerable Anne Katherine Emmerich and The Dolorous Passion of Christ.
The intercutting scenes of the two tormented betrayers were brilliant and conveyed so well the paths two men both hand-chosen by Christ took. Relatively unknown Italian actor Luca Lionello nailed the crazed Judas Iscariot for he exhibited an almost dazed state from scooping up the scattered silver from the temple floor to approaching Jesus in the Garden. While Peter, so well carried out by Francesco De Vito and effulgently photographed by Gibson's touch in casting shadows over his countenance and dark beard extracted the soul of the one Christ had selected to lead His Church (cf. Matthew 16: 18-19). Peter's scenes went quickly and played out not separately but fittingly intertwined with all the major principals within earshot of the Sanhedrin kangaroo court and all within that span, before the cock crowed thrice. The salvific factor depicted in the film was that both men fled, but Peter ran smack into the two Mary's and John, cowering in unworthiness. Whereas Judas recoiled at the base of a wall where symbolically the Jewish soldiers had their own 'fun' on the way to the temple by bungee-cording Christ over the wall on chains upside down where his gaze met Judas' eye to eye in the dark climes of this hollow. Our Lord's eyes were piercing the Iscariot's heart, waiting and hoping for the fallen Apostle to drop on his knees in repentance as Peter did, but despair had already taken hold. No sooner had they jerked our Savior back up then a demon emerged from the opposite wall that took the entire theatre by surprise. While it scared not just a few, it sent Judas on his journey of fate.
Here Gibson again used the image of an innocent child turned mean and taunting. We have heard so often "children can be so mean" when hearing tales of a child being hounded by other classmates and made fun of over something that often was a molehill but made into a mountain by the accused one's self-consciousness and decreasing self-worth in the face of pressure from peers. The insecurities of the attackers causes them to turn as one into unfettered frenzy. This vein coursed throughout the film from the children to the accusations by the Pharisees to the mob in the Roman courtyard to the Roman soldiers intoxicated with a lust to punish the more the blood flowed.
First the children was the vehicle Mel chose to drive Judas up the rocky crevice to the point of no return. At the summit, he chose the stench-soaked hemp which he had to lift from a dead sheep at his feet to end his life both in despair and to rid himself of the demons who had driven him to the edge. Gibson's selection of the maggot-ridden lamb scripturally portrayed the bad sheep who, steeped in sin are inside no different than the Pharisees - rotting sepulchres teeming with worms as Christ asserted to the Sanhedrin in Matthew 23 that within there was "all uncleanness...full of hypocrisy and iniquity" (verses 27, 28).
In all my studies of Sacred Scripture, the Chief Priest Caiphas, depicted dead on by Mattia Sbragia, was the main instigator of revenge for being exposed by Christ's lambasts in Matthew 23. One needs to understand that entire chapter to realize why Caiphas was clearly signaled out as the chief villain of this film and rightly so. It in no way signaled anti-Semitism, but an exposition of how corruption comes from the top and works down, rather than the other way around. It was Caiphas who orchestrated the emotions of his fellow Rabbis within the Sanhedrin in impugning and executing one of their own. I couldn't help but think of the same scenario carried out by the Vatican II Curia who had ganged up against Archbishop Marcel Lefebvre, falsely condemning an innocent man because he was who he said he was - an uncompromising disciple of the Truths and Traditions handed down by Christ and His Church. Unfortunately some of those men still are in power today. Yes, folks, the Sanhedrin of 2000 years ago is still alive and thriving in modern Rome.
Rather than the anti-Semitic charge, I can see a clearer message of anti-Vatican II throughout. There's no harm in that and more power to Mel. It's about time. I find it so difficult and sad to believe that the Pope would hesitate from giving a hearty endorsement to this film for it is Catholic in every way, maybe too Catholic for his likes and agenda. Those casting aspersions on the film, such as Abe Foxman and Rabbi Marvin Hier and a host of other liberal media elite have cast their fate with the misguided direction of humanism, ecumenism and Modernism spawned at Vatican II in compromising the truth of the Gospels. One thing Gibson did not veer from was the authenticity of the historical events and costumes of that time so meticulously recreated down to the last thread by costume designer Maurizio Millenotti. The production design of Francesco Frigeri and the sets fashioned by Carlo Gervasi were so authentic that I did not feel I was watching this but very much in the center of it all - in that extra dimension that transcends time and reason. Mel's choice of Shaila Rubin, a Jew, as casting director was sheer brilliance for she was the one who found Morgenstern and the vast majority of other characters who blended in as the actual biblical figures, not actors. Yes, there was a definite spirit at work here - the Holy Spirit.
The Scourging at the pillar was probably the cruelest and most grueling scenes in the entire movie for they were the first act of brutality so graphically portrayed. Indeed, the tears increased with each lash and no meditation on the Second Sorrowful Mystery ever brought to fruition the emotions that I experienced in feeling those whips and sharp barbs that instantly swelled up a lifetime of repentance for any uncharitable barb I had every uttered throughout my life. Yes, I felt no better than the Romans who, at the sight of blood, only intensified their passion for more blood. The frenzy is contagious for evil, but the frenzy within my heart was to ever remember the frenzy of Faith that spurs us on to never turn back. The realization struck me right there as the blood spurted onto the cobble that for Christ there was no point of return. He was committed and so were we. Just as we forever walked out of the Novus Ordo on Ash Wednesday exactly three years ago, there would be no turning back. We are forever committed to upholding the Traditions and dedicated to preserving the Traditional Latin Mass and all that was professed before the revolution. Anything less is disloyalty and betrayal. I must admit the Scourging was the hardest part of this movie. True to his word, Mel took me to the edge and then, just when I might have gone numb, he revived my senses with flashbacks from associations cropping up in Christ's Own psyche from His viewpoint while He writhed in pain, such as the feet of the Roman soldier that brought back the scene of Christ washing the feet of His Apostles. No foot was too dirty for Christ, just as no soul is too lost for Him to save. The person has only be willing to put his or her foot forward, extended toward God. These brief scenes gave me a respite so that I would be able to endure the next scene when the reality of the Passion returned in all its ugly necessity.
As the Scourging mercifully came to an end I couldn't help but think how anti-Vatican II this film is for it attacks the very comfort zone of those who have embraced the 'Jesus is love and tolerant of all' fallacy that has been so insidiously imbued in the dumbed-down masses who have had the Holy Mass ripped from their parishes. Sacrifice is something few neo-Catholics are familiar with, even fewer with the essence of the lengths and torture Jesus underwent and why He suffered more than any human on the face of this earth for all time. That was the cost of making reparation for our sins. It magnified all the more in my mind how devastating sin is and that, too, is something so lost on today's society and church. Though the fruits of His Redemption merited for all the reward of Heaven, that could only be carried out in full for those willing to reciprocate that sacrifice by being in the state of sanctifying grace and through a sincere heart manifested in good works. Ergo the infrangible words within the Consecration of the wine into blood - 'pro multis' - for many, rather than 'for all.' Free will prevents the 'all.' For countless Catholics, what they will see on the screen is not the Christ and story they have been taught over the past 40 years, but it is the vision and truth we, who were brought up in the pre-Vatican II days, recall so vividly.
By the time we reach the Third Sorrowful Mystery in the film the scene is mercifully short, for Christ has already been reduced to a pulp, slunk against the wall almost helpless to resist the cruel crown of thorns the Roman soldiers gleefully and intoxicatingly force into His sacred skull.
Meanwhile, all the furor and controversy over the 'inciting phrase' of Matthew 27: 25 was muted by removing the subtitle "His blood be on us and on our children." Many might think Mel caved. Indeed, I at first thought that as well until I experienced this film. Gibson clearly conveyed the sentiments of the crowd in the scene, not a guilty sentence on them alone but upon all of us. As I have pointed out before this was not a condemnation on the Jews but upon all. Few bring up the fact of last Sunday's Gospel wherein Luke 18: 32-33, Jesus foretells his Own destiny:
"He shall be delivered to the Gentiles, and shall be mocked, and scourged and spit upon: and after they have scourged Him, they will put Him to death, and the third day He shall rise again."
You'll note Christ did not say 'delivered to the Jews' but to the "Gentiles." Any accusations of anti-Semitism are trumped up and false and proven here as such. The scene of Pontius Pilate's wife Claudia Procles, portrayed by Claudia Gerini, is a powerful reminder of conscience. She takes fresh linens to Mary in an alcove near the courtyard where the Blessed Mother, accompanied by the Magdalen, lovingly but painfully accepts the gift. It is as if both Claudia and Mary are one in knowing what needed to be done next. Here Mel subliminally, yet graphically illustrates the merciful Mother who does not hesitate in soaking up the spattered blood on the floor of the pillar courtyard in the aftermath of the Scourging. In this act she is accepting the responsibility of carrying the concerns of His children, gathering as much blood on the linens as possible so that more will be saved. Truly a sign of Mediatrix, Advocate and CoRedemptrix. After a while, Mary Magdalene joins in helping Our Lady blot up the blood, an exemplification of the Communion of Saints.
The scenes of Pilate washing his hands tied in naturally with Christ washing His hands at the Last Supper just as every priest purifies his hands at the Lavabo in the Holy Sacrifice of the Mass. The paradox was obvious: while Pilate's 'cleansing' was to avoid responsibility, the pure sacerdotal ritual of the celebrant is to accept the august responsibility of cleansing himself and the hearers at Holy Mass of their venial sins through the merits won for us by Christ's Passion and Death and renewed in the unbloody sacrifice each day.
Once the heavy wood was slammed down on Christ's shoulder, those stations at Assumption parish came alive. They had forever left their static state and that other dimension rose to the surface. The cinematography of these scenes were stunning and the make-up of Caviezel was impeccable in all its ungodly ugliness so magnificently created by make-up artists Keith Vanderlaan, Christien Tinsley, Vincenzo Mastrantonio, Greg Cannom, Mary Kim, Mario Michisanti, Kelley Mitchell, Brandon Reininger, Brian Sipe, and a host of others in the make-up department that should be considered for many cinematic awards in the coming year.
With every step I was thrust into the middle of the Via Crucis that, until now, I never could quite experience in full as my mind wafted back to that time long ago inside Assumption church when I was trying not to inhale the incense wafting up from the thurible as we prayed at each station and moved on, then genuflecting to the words "We adore Thee, O Christ, and we bless Thee," as we responded on our knee "Because by Thy holy cross Thou hast redeemed the world."
By the time the procession began winding up the Via Dolorosa, Caviezel had already become Christ in my mind and, I would suspect, everyone else's in the theater. There was no delineation, so convincing a role had he achieved. I cringed and wept each time Our Lord toppled and thought how could anyone go on? And I felt with Mary as she tried to get closer to her Divine Son. Here Mel brought the uniqueness of the Mother of God to a new height where the audience could see and feel what Mary experienced. Only Our Lord and Our Lady could actually see the evil one gliding effortlessly behind the Sanhedrin and other onlookers standing to the side as Christ passed. When Mary made it evident she could see the androgynous evil hooded one, it disappeared in flight behind another figure. Satan will never look the Blessed Mother or her Divine Son in the eye. He cannot. Thus we should realize the devil cannot harm us if we are anchored to Christ and His Mother. Tempted yes, but not harmed if we resist. Grace enables this.
It was a masterful touch Gibson employed that motivated Mary to rush toward her Son as any mother would at the sight of her Divine Son falling under the heaviness of the cross just yards away from where she was standing in the narrow alleyway. Mel used a flashback memory of Jesus as a child twisting his ankle. Mary dropped everything and rushed to his aid. Truly a touching respite from the agony that was yet to come.
The brilliant tie-in of the marital bond of Veronica and Simon of Cyrene, powerfully portrayed by Jarreth Merz was a magnificent segue of the fifth and sixth stations and here Mel carried Simon's part further, not just helping for a short ways, but all the way to the summit of Golgotha. I watched with a keen eye as Christ passed by Veronica. Sure enough the veil she held in her delicate hands bore the imprint of our Savior's countenance in blood. Here I could sense the very essence that J.R.R. Tolkien was depicting in his 'Lord of the Rings - Return of the King' so wonderfully recreated by Peter Jackson. Simon turned into a Samwise Ganges aiding Frodo. The difference here is that Sam was the determined one, just as Christ was; Frodo was the hesitant, fearful one, just as was Simon. But in the end love and courage triumphed. Simon, very noticeably singled out in an earlier scene as being despised by the Roman soldier as a Jew, turned out a heroic character for, though reluctantly, he took up the cross and set an example for each one of us to do likewise. Hardly anti-Semitic.
The scene of Simon descending the hill and the two Mary's and John ascending the summit simultaneously was symbolic for that was their role to stand with Him to the bitter end. And it was bitter from the hammering of the spikes into his tender flesh to the jerking of His shoulder to reach the pre-drilled mark on the right beam of the cross. Here Mel took the audience to the edge again with the Romans slamming the cross over, suspending Our Lord helplessly hanging horizontally just a foot off the ground as they positioned the wood to slip it into the pre-dug hole in the gravel. The thud sent shudders through my heart and a few more tears escaped and rolled down my cheeks. Unashamedly I brushed them away, but ashamed that if maybe I had striven to be more holy perhaps it wouldn't have been as painful for Christ. Yet, we all know it was our collective sin that forced Him to undergo this ultimate sacrifice. Yet the personal scruples continuously pecked away at my psyche just as the crow settled on the crossbeam above the bad thief. You could see the next scene coming and reminded me of Christ's warning that it would be better that one pluck out his eye, rather than sin. Yet the sinner who hung on Christ's right (I had always pictured the bad thief on the left and Dismas, the good thief on the right - guess it depends on which perspective one looks at it - from ours or God's.) was unrepentant to the end, and his derision of Christ received a swift and painful punishment. I could not help but think about those who had so maliciously put this film down and questioned Mel Gibson's own integrity how they would be eating crow for quite some time.
I could have smirked at this, but I was to engulfed in the crucifixion at this point as though I was there in person. The Seven Last words were true to the Gospel and the camera work magnificent. I swear I could feel the sweat and was even tempted to check my hands and face for splattered blood. It was only the moisture of tears.
To me the stroke of true cinematic brilliance, surpassing even that of Orson Welles' classic Citizen Kane, was Mel's utilization of a long distance shot from above. At first the scene was surrealistic and hovered there for an interminable time and then a drop reflecting the same scene plummeted downward away from the camera's angle and I recognized immediately what it was as it crashed to the foot of the cross, splashing outward. It was the single Tear of the Father above - from the "eye of God" as tomorrow's Introit says "Oculus Dei" - just before the Heavens opened and unleashed the storm of nature, rain and a temblor that rent the temple floor in half and shook all of Jerusalem. The ensuing scene provided ineffable proof that satan had lost as once again from the Almighty Father's perspective the same ground was now a carmine carpet of parched earth with the androgynous one writhing and screeching in painful acknowledgment of defeat. Hell had been emptied by the redemption of His Son.
The piercing of His Sacred Heart was a moving scene as blood and water gushed forth as a fountain of Divine Mercy for all, splashing on not only the centurion who had thrust the lance, but on the Mary's, John and many nearby. There was even a brief glimpse on Caiphas' countenance just a few scenes earlier that hinted recognition in his own hardened heart that he had realized the gravity of his actions and regretted them. One can always hope he did repent.
The Pieta scene brought to a close my journey of the Stations of the Cross there at Assumption church 50 years ago. Never again will I look upon these images in a distanced way as if I am looking on something, but now it will come alive and immerse me fully in the experience and help me grow in grace and understanding.
The brief Resurrection scene was a nice touch, the lighting magnificent and I was a bit surprised that the scene actually showed Caviezel healed and ready to emerge from the tomb because I was expecting, from the camera angle and shadowing that we would see the shadow of Christ going forth into the light and fade out in that manner. But then that was my creative imagination grasping at the way I might film it. But who am I kidding, I would be an apprentice beginner bumbling before the true master so inspired by the Holy Ghost - of that there is no doubt. I can only get down on my knees and thank God for sending Mel Gibson into the world at this time to produce the most magnificent masterpiece since the Original nearly 2000 years ago. There really is no proper adjective to absolutely do 'The Passion of The Christ' full justice except that "By their fruits you shall know them" (Matthew 7: 20).
The New York Times, not surprisingly, has panned the picture as "an assault on the spirit." I would term it totally the opposite. For as Christ has assured in Matthew 15: 13, Mark 9: 50 and Luke 14: 34, the salt must not lose its savor or it will be worthless. Not so with Mel's project of a lifetime. Souls will be won for Christ. It is truly a Triumph, quite possibly the greatest since Saint Francis of Assisi followed Christ's charge to "Rebuild My Church." Mel has begun now it is up to all of us to continue the track to bringing others back to Truth and Tradition. Ted Koppel of ABC's Nightline has publicly gone on record as saying there won't be any conversions as a result of this film. I beg to differ. Not only is Mel Gibson truly the Michelangelo of the 21st Century, but his film will never lose its savor for it is filled with the Spirit of Christ. Truly 'The Passion of The Christ' is the Salt of The Spirit!"
quarta-feira, fevereiro 25, 2004
Modernistas: homens tão mal disfarçados
E o que exige que sem demora falemos, é antes de tudo que os fautores do erro já não devem ser procurados entre inimigos declarados; mas, o que é muito para sentir e recear, se ocultam no próprio seio da Igreja, tornando-se destarte tanto mais nocivos quanto menos percebidos.
Aludimos, Veneráveis Irmãos, a muitos membros do laicato católico e também, coisa ainda mais para lastimar, a não poucos do clero que, fingindo amor à Igreja e sem nenhum sólido conhecimento de filosofia e teologia, mas, embebidos antes das teorias envenenadas dos inimigos da Igreja, blasonam, postergando todo o comedimento, de reformadores da mesma Igreja; e cerrando ousadamente fileiras se atiram sobre tudo o que há de mais santo na obra de Cristo, sem pouparem sequer a mesma pessoa do divino Redentor que, com audácia sacrílega, rebaixam à craveira de um puro e simples homem.
Pasmem, embora homens de tal casta, que Nós os ponhamos no número dos inimigos da Igreja; não poderá porém, pasmar com razão quem quer que, postas de lado as intenções de que só Deus é juiz, se aplique a examinar as doutrinas e o modo de falar e de agir de que lançam eles mão. Não se afastará, portanto, da verdade quem os tiver como os mais perigosos inimigos da Igreja. Estes, em verdade, como dissemos, não já fora, mas dentro da Igreja, tramam seus perniciosos conselhos; e por isto, é por assim dizer nas próprias veias e entranhas dela que se acha o perigo, tanto mais ruinoso quanto mais intimamente eles a conhecem. Além de que, não sobre as ramagens e os brotos, mas sobre as mesmas raízes que são a Fé e suas fibras mais vitais, é que meneiam eles o machado.
Batida pois esta raiz da imortalidade, continuam a derramar o vírus por toda a árvore, de sorte que coisa alguma poupam da verdade católica, nenhuma verdade há que não intentem contaminar. E ainda vão mais longe; pois pondo em obra o sem número de seus maléficos ardis, não há quem os vença em manhas e astúcias: porquanto, fazem promiscuamente o papel ora de racionalistas, ora de católicos, e isto com tal dissimulação que arrastam sem dificuldade ao erro qualquer incauto; e sendo ousados como os que mais o são, não há consequências de que se amedrontem e que não aceitem com obstinação e sem escrúpulos. Acrescente-se-lhes ainda, coisa aptíssima para enganar o ânimo alheio, uma operosidade incansável, uma assídua e vigorosa aplicação a todo o ramo de estudos e, o mais das vezes, a fama de uma vida austera. Finalmente, e é isto o que faz desvanecer toda esperança de cura, pelas suas mesmas doutrinas são formadas numa escola de desprezo a toda autoridade e a todo freio; e, confiados em uma consciência falsa, persuadem-se de que é amor de verdade o que não passa de soberba e obstinação. Na verdade, por algum tempo esperamos reconduzi-los a melhores sentimentos e, para este fim, a princípio os tratamos com brandura, em seguida com severidade e, finalmente, bem a contragosto, servimo-nos de penas públicas.
Mas vós bem sabeis, Veneráveis Irmãos, como tudo foi debalde; pareceram por momento curvar a fronte, para depois reerguê-la com maior altivez. Poderíamos talvez ainda deixar isto desapercebido se tratasse somente deles; trata-se porém das garantias do nome católico.
Há, pois, mister quebrar o silêncio, que ora seria culpável, para tornar bem conhecidas à Igreja esses homens tão mal disfarçados.
São Pio X - Pascendi Dominici Gregis - 1907
A anormalidade gera anormalidade
A difusão moral do egoísmo produz inversões e anormalidades, mas essas coisas, por mais que o digam os relativistas, não têm a mesma estabilidade das naturezas normais. A anormalidade está sempre em tensão. Ainda que toda a humanidade se pervertesse de algum modo, e não pudesse contar com a reprovação pública, ou com a correção fraterna, ou com a crítica, nem por isso perderia totalmente o contato com o padrão da normalidade, que está inscrito na natureza das coisas. Por isso, ou pela presença de alguma reprovação, o anormal está sempre em tensão, ou numa desafinação consigo mesmo e com os outros. Procurará firmar-se, afirmar-se na anormalidade, para se sentir integrado consigo mesmo e conseguintemente com os outros; ou então, com revolta, quererá anormalizar o mundo de algum modo, a fim de encontrar nele consonância para a sua mísera anormalidade. Enquanto funciona o acelerador, a disjunção interna, pode-se dizer que a anormalidade gera a anormalidade. Ou pela consolidação, pelo acinte e pela aberrante insolência da opção, ou por subversão do ambiente.
Um exemplo ilustrativo do primeiro caso se encontra frequentemente nos casos de inversão sexual em que o viciado, a certa altura, instala-se para toda a vida e para a eternidade, como quem quer afirmar que aquilo tem o direito de espelhar valores eternos. Seu pecado não está nos atos acidentais, está mais na opção que imprime carácter.
(…)
A anormalidade gera a anormalidade, enquanto funciona a atmosfera cultural do Homem-Exterior. E o efeito mais direto, mais abundante, não é o da anormalidade que encontra em si mesma a própria confirmação; é antes o da anormalidade que sente a reprovação que não sabe de onde vem e que, apesar de toda a desordem ambiente, ainda traz uma secreta notícia da normalidade como Deus a quer. Essa pressão externa produz o desejo de um mundo totalmente de pernas para o ar aonde a anormalidade se generalizou e então se tornou uma espécie de normalidade.
É desse desejo angustiado e perverso de subverter que nascem os admiradores do Comunismo e do Nazismo. Querem virar o universo pelo avesso a fim de encontrar nele apoio e até aplauso. Ninguém pode viver sem algum aplauso. Ninguém pode viver uma contradição cósmica. E é com esse furor de anormalizar que se fazem os nazistas e comunistas.
Hoje, só uma criança, ou uma pessoa prodigiosamente desinformada, poderá ainda acreditar que os "intelectuais" e "estudantes" simpatizam com o comunismo por causa da "missão redentora do proletariado", da "mais-valia" ou da "luta de classes". E poderá ainda acreditar que existe alguma correlação entre Comunismo e Justiça Social. O que move os agentes totalitários e a "inteligentzia" é o ressentimento e o gosto da subversão. Daí a estranha insensibilidade que eles manifestam, para estupefação do homem normal e ingénuo que não consegue entender tal comportamento. Insensibildade diante dos expurgos, diante do pacto germano-soviético, do abandono dos comunistas espanhóis à sua própria sorte, do massacre dos húngaros, e do muro de Berlim. E sobretudo insensibilidade na convivência uns com os outros.
Gustavo Corção - Dois Amores, Duas Cidades - Rio de Janeiro, Agir, 1967
domingo, fevereiro 22, 2004
Sans
Sans Dieu, plus de vrai ni de faux; plus de droit, plus de loi. Sans Dieu, une logique rigoureuse égale la pire folie à la plus parfaite raison. Sans Dieu, tuer, voler, sont des actes de une innocence parfaite; il n'est point de crime qui ne devienne indifférent, ni de révolution qui ne soit légitime; car sans Dieu le principe du libre examen subsiste seul, principe qui peut tout exclure, mais qui ne peut rien fonder.
Charles Maurras - 1941
sábado, fevereiro 21, 2004
Acção
Deus conhece a atenção, o cuidado, a engenhosidade e o zelo que cada um pode consagrar para um maior êxito dos seus negócios.
Quem não se forma e informa nesse domínio? Quem não se documenta? Quem não recorre a técnicos preparados? Por vezes, dias e noites decorrem na pesquisa de uma fórmula capaz de permitir um aumento de lucros ou ultrapassar um concorrente.
Mas quando se trata do destino da sociedade (da qual depende, no entanto, a prosperidade durável dos negócios privados), a rotina, a negligência, a irreflexão, a incoerência e a preguiça transformam-se na lei desses homens, cuja sabedoria e espírito de iniciativa são, no entanto, admirados.
Passageiros que limpam a humidade do seu camarote mas que recusam a interessar-se pela possibilidade do seu navio soçobrar num instante.
A verdade é que perdemos o nosso tempo com ninharias e que concedemos aos "tabus" mundanos mais tempo do que aquele que seria necessário para trabalhar vitoriosamente pela salvação da cidade.
Uma preocupação obsessiva pelo conforto chega mesmo a constituir entre nós um clima de materialismo inexpugnável. Materialismo que já não se exibe, como outrora, através de máximas vis e provocantes. O que tinha a vantagem de alertar os melhores. Mas um materialismo de facto, inteiramente implícito, que sem nos impedir de ir à missa não deixa por isso de realizar menos o maior fenómeno político de absenteísmo verificado desde a queda do Império Romano. E esse morreu.
Cristãos que se pretendem excelentes maridos, excelentes pais de família, excelentes empregados, excelentes paroquianos.
Todos podem contar com eles.
Salvo a sua cidade. Salvo a sua Pátria!
(…)
Portanto, à acção!
Ela constitui o grande dever desta hora.
Não há tempo a perder, já proclamava Pio XII. O tempo de reflexão e dos projectos já passou. Estamos na hora da acção! Estais prontos para ela? As frentes opostas, no domínio religioso e moral, delimitam-se cada vez mais claramente. É o momento de prova. A dura corrida de que fala São Paulo já começou. É a hora do esforço intenso. Alguns instantes chegam para decidir a vitória.
Nunca, talvez, a salvação da sociedade dependeu do esforço de um número de pessoas tão pequeno.
É preciso ainda que esse pequeno número queira e saiba querer.
Alguns sobressaltos ou alguns movimentos de cólera tardia para nada servirão.
Tenhamos cuidado para não merecermos ouvir dizer aquilo que a mãe do último rei mouro de Granada lançou contra o seu filho, quando teve de abandonar a sua capital: "É inconveniente chorar e barafustar como uma mulher, quando se está em vias de perder aquilo que não se teve vontade de defender como um homem".
Jean Ousset - 1974
terça-feira, fevereiro 17, 2004
The Faith is Europe. And Europe is the Faith.
We have reached at last, as the final result of that catastrophe three hundreed years ago, a state of society which cannot endure, and a dissolution of standards, a melting of the spiritual framework, such that the body politic fails. Men everywhere feel that an attempt to continue down this endless and ever-darkening road is like the piling up of debt. We go further and further from a settlement. Our various forms of knowledge diverge more and more. Authority, the very principle of life, loses its meaning, and this awful edifice of civilization which we have inherited, and which is still our trust, trembles and threatens to crash down. It is clearly insecure. It may fall in any moment. We who still live may see the ruin. But ruin when it comes is not only a sudden, it is also a final thing.
In such a crux, there remains the historical truth: that this our European structure, built upon the noble foundations of classical antiquity, was formed through, exists by, is consonant to, and will stand only in the mold of, the Catholic Church.
Europe will return to the Faith, or she wil perish.
The Faith is Europe. And Europe is the Faith.
Hilaire Belloc - 1920
In such a crux, there remains the historical truth: that this our European structure, built upon the noble foundations of classical antiquity, was formed through, exists by, is consonant to, and will stand only in the mold of, the Catholic Church.
Europe will return to the Faith, or she wil perish.
The Faith is Europe. And Europe is the Faith.
Hilaire Belloc - 1920
segunda-feira, fevereiro 16, 2004
Introibo ad altare Dei
Faz-me justiça, ó Deus,
e defende a minha causa contra a gente sem piedade!
Livra-me do homem mentiroso e perverso.
Tu, ó Deus, és o meu refúgio. Por que me rejeitastes?
Por que hei-de andar triste sob a opressão do inimigo?
Envia a tua luz e a tua verdade,
para que elas me guiem e conduzam
à tua morada santa, à tua morada.
Eu irei ao altar de Deus,
ao Deus que é alegria da minha juventude.
Ao som da harpa te louvarei, ó Deus, meu Deus.
Por que estás tristes, minha alma, e te perturbas?
Confia em Deus: ainda o hei-de louvar.
Ele é o meu Deus e o meu salvador.
e defende a minha causa contra a gente sem piedade!
Livra-me do homem mentiroso e perverso.
Tu, ó Deus, és o meu refúgio. Por que me rejeitastes?
Por que hei-de andar triste sob a opressão do inimigo?
Envia a tua luz e a tua verdade,
para que elas me guiem e conduzam
à tua morada santa, à tua morada.
Eu irei ao altar de Deus,
ao Deus que é alegria da minha juventude.
Ao som da harpa te louvarei, ó Deus, meu Deus.
Por que estás tristes, minha alma, e te perturbas?
Confia em Deus: ainda o hei-de louvar.
Ele é o meu Deus e o meu salvador.
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