Is Mel Gibson a born-again Christian? What about
the acting cast of his film production, “The
Passion of the Christ”? Are they
“unknown actors” as stated by Danae Dobson and
Cal Thomas in their rave reviews of this Hollywood production? The
following profiles, which have been written by various authors, present a
radically different perspective on the producer/director, actors and
actresses of the “The Passion.”
Mel Gibson has, in fact,
cast at least five hardcore pornography stars in major roles in
this so-called “Christian” movie. Gibson’s
choice of actresses is more evidence that this film is not about Jesus
Christ, but a false Christ who is the consort of the Black Virgin, a
Goddess figure whose decadent morals are symbolized by the Tarot card,
Virgo:
“Rákóczi writes of this card: To
the more licentious it represented the ‘virgin quality’ that is gained,
not by pure living, but by plunging into the abyss of sexual indulgence;
here we have the exultation of the prostitute as a saint and the saint
treated as one who is ‘impure’. Hence, Gypsies often call this the
Magdalene card... ” (Cult of the Black Virgin,
p.138-9)
Mel Gibson has provided the idolatrous masses with modern screen gods and goddesses who are really updated versions of the debauched deities of the ancient Roman pantheon. It seems by design that The Passion was filmed in Italy, that most of the acting cast are Italian, and that some their films reveal an agenda to portray Renaissance Italy, the epicenter of the revival of paganism which reintroduced the occult traditions to Europe, in a favorable light. The seemingly unrelated phenomena of occult illumination and sexual perversion are really associated behaviors—bedfellows and coconspirators in Satan's warfare against mankind.
The following profiles reveal the demonized
state of the motion picture industry, in which pornography, homosexuality,
occultism, sado-masochism, horror and vulgarity are fast becoming standard
fare, rather than the anomaly. Dennis Palmu, who researched most of The
Passion cast, and wrote nearly all of the profiles below, stated:
“By my count, out of a total of 66 adult actors and
actresses in The Passion of the Christ, 33 have appeared in movies
with graphic sex, pornography, violence, horror or a combination of some
or all of these four elements. What is the statistical probability that
this ‘just happened’ by chance?”
Since the cast of “The Passion” constitutes a veritable Hall of Porn, references to a few pornographic sites were necessary to document the licentiousness of these celebrities. Please note that pornography stars are identified with a single asterisk (*) and pornographic sites are marked by a double asterisk (**) with a firm caveat: Only mature women should view these websites and only for the purpose of verifying our report.
Mel Gibson (Producer/Director)
James Caviezel (Jesus)
*Monica Bellucci (Mary Magdalene)
Maia Morgenstern (Mary, Mother of Jesus)
*Rosalinda Celentano (Satan)
Davide Marotta (Albino Baby)
*Claudia Gerini (Wife of Pontius Pilate)
*Sabrina Impacciatore (Seraphia)
Hristo Jivkov (John)
Toni Bertorelli (Annas)
Luca Lionello (Judas)
Jarreth Merz (Simon of Cyrene)
Giacinto Ferro (Joseph of Arimathea)
Mattia Sbragia (Caiaphas)
Hristo Naumov Shopov (Pontius Pilate)Dario D'Ambrosi (Roman Soldier)
Lucio Allocca (Second Temple Guard)
*Gabriella Barbuti (Herod’s Court Woman)
Ornella Giusto (Herod’s Court Woman)
Fabio Sartor (Abenader)
Matt Patresi (Janus)
Roberto Visconti (Scornful Roman)Lucia Stara (Herod’s Court Woman)
Rossella Longo (Woman)
Paco Reconti (Whipping Guard)
Ted Rusoff (Elder)
Roberto Santi (Elder)
Franco Costanzo (Accuser)
Andrea Coppola (Grizzled Bears)
Emanuele Gullotto (Accuser)
Luciano Federico (Man in Audience)
Lino Salemme (Accuser)
Federico Pacifici (Elder)
Romuald Anderzej Klos (Roman Soldier)
Valerio Isidori (Herod’s Courtier)
Danilo Maria Valli (Herod’s Courtier)
MEL GIBSON (PRODUCER/DIRECTOR)
The Passion of Mel Gibson
Joseph Herrin
(2-20-2004)James 3:11-12
Does a fountain send out from the same opening both fresh and bitter water? Can a fig tree, my brethren, produce olives, or a vine produce figs? Nor can salt water produce fresh.
Luke 6:43-45
For there is no good tree which produces bad fruit, nor, on the other hand, a bad tree which produces good fruit. For each tree is known by its own fruit. For men do not gather figs from thorns, nor do they pick grapes from a briar bush. The good man out of the good treasure of his heart brings forth what is good; and the evil man out of the evil treasure brings forth what is evil; for his mouth speaks from that which fills his heart.
I have had an unsettled feeling concerning Mel Gibson’s widely discussed upcoming movie "The Passion of the Christ". I have been receiving e-mails for the past year from one individual after another who have been singing the praises of this "historically accurate" and "brutally realistic" re-enactment of the last twelve hours of the life of Christ that culminates in His crucifixion on a Roman cross. One report after another has spoken of the stunned audiences left weeping and emotionally stirred after having watched a preview of this movie.
I have also read of the ringing endorsements of Christian leaders such as James Dobson, and hundreds of other well known and lesser known pastors, teachers and religious leaders. A large part of the church is being mobilized to attend this movie upon it’s release on February 25, 2004, and they are viewing this movie as a triumph for Christianity and a wonderful evangelistic tool.
Despite all this religious fervor and excitement I have felt very subdued in my own spirit, and I began to pray that God would give me His mind regarding this production. I have sensed the Spirit of Christ drawing me back from all that comes out of Hollywood during the past couple years, and I have stopped looking for religious meaning and inspiration in the movies currently being produced. Movies have become so highly leavened with foul language, sexual immorality, unrighteous attitudes and messages, and deceptive doctrines that it is impossible to try to glean something pure from the midst of the overwhelming corruption.
A couple years ago when the first of "The Matrix" movies came out I was excited by the message inherent in the movie, yet when I later discovered the Gnostic leanings of the movie’s creators I was repulsed and determined to have nothing more to do with the series. Just before the second movie was released I sent out an e-mail to those on the Heart4God mailing list in which I stated the following:
As I read the review of the new movie that is available at www.screenit.com, an excellent site to check the content of movies before viewing them, it is apparent that the trend of the next releases of this series of movies is toward greater profanity and a greatly heightened sexual content. As I considered this the Spirit spoke to me and told me that I was not to go and see this new movie that I might not pollute my own soul, and I felt an urgency to share this with others who might be influenced to see this movie due to the writing I had posted that detailed some of the spiritual symbolism of "The Matrix". The following Scriptures came to mind:
Psalms 101:3
I will set no wicked thing before mine eyes...
Philippians 4:8
Finally, brethren, whatever is true, whatever is honorable, whatever is right, whatever is pure, whatever is lovely, whatever is of good repute, if there is any excellence and if anything worthy of praise, dwell on these things.
II Corinthians 11:2-3
For I am jealous for you with a godly jealousy; for I betrothed you to one husband, so that to Christ I might present you as a pure virgin. But I am afraid that, as the serpent deceived Eve by his craftiness, your minds will be led astray from the simplicity and purity of devotion to Christ.
As I have contemplated the value of these movies one thought has kept coming back. These movies are not pure, but they are a mixture of that which is holy and that which is profane. The movies contain an extraordinary amount of Scriptural and Christian references. They are filled with Biblical types and shadows. Yet they also contain many profane elements such as symbols from Eastern religions, profanity and sexual content that a saint should not set before his/her eyes. All of the good elements from the movies can be gained from a study of Scripture, and the movies themselves are not a necessary tool to gain understanding of what it is to be an overcomer in Christ. Knowing this, and understanding that God detests the mixing of the holy with the profane, I sense strongly that the Spirit is urging me, and I trust He will urge others as well, to avoid viewing the further releases of this series of movies.
Ezekiel 22:26
"Her priests have done violence to My law and have profaned My holy things; they have made no distinction between the holy and the profane, and they have not taught the difference between the unclean and the clean..."
Yahweh wanted to so very much impress upon His chosen people that He hates mixture of that which is holy and profane that He would not allow them to mix even those things that we would consider common.
Deuteronomy 22:9-11
"You shall not sow your vineyard with two kinds of seed, or all the produce of the seed which you have sown and the increase of the vineyard will become defiled. You shall not plow with an ox and a donkey together. You shall not wear a material mixed of wool and linen together."
If God showed concern even for these things, how much more is He concerned that we do not mix our spiritual truth with images of sexual immorality and profanity?
Even more recently my family and I were brought to a further straightening of our way in regard to movies. As a youth I had read the "Lord of the Rings" books by J.R.R. Tolkien, and I had been fascinated by the literary world he had created and its great struggle between good and evil. Many saints had been lauding this series of movies because it had neither profanity nor scenes of sexual immorality. Tracts had even been put out that spoke of seeing Christ in this series, and much was made of the faith of Tolkien and of his personal friendship with the Christian author C.S. Lewis.
Once more, however, that still small voice was urging me to take a further look at this series. In particular, the character of Gandalf, the benevolent, wise and powerful wizard was brought to my attention again and again. Both Tolkien and Lewis were citizens of England, and as such they were naturally influenced by the writings and legends of ancient England. Part of this legacy is the Arthurian legends that include the wizard Merlin as a central and important character. Even as Merlin is often portrayed in a benevolent way as a ward and counselor to King Arthur, so Gandalf is similarly related to Aragorn as he assists him in his ascent to the throne. C.S. Lewis even incorporated Merlin as a character in his space trilogy where we find him playing a central role in the book "That Hideous Strength".
Yet, just because history makes a people inclined to accept and relate strongly to images of benevolent conjurers, it does not mean that God shares this affinity. As I considered this matter I was led to the following Scriptures:
Leviticus 20:26-27
And ye shall be holy unto me: for I Yahweh am holy, and have severed you from other people, that ye should be mine. A man also or woman that hath a familiar spirit, or that is a wizard, shall surely be put to death: they shall stone them with stones: their blood shall be upon them.
Deuteronomy 18:10-12
There shall not be found among you any one that maketh his son or his daughter to pass through the fire, or that useth divination, or an observer of times, or an enchanter, or a witch, or a charmer, or a consulter with familiar spirits, or a wizard, or a necromancer. For all that do these things are an abomination unto Yahweh: and because of these abominations Yahweh thy God doth drive them out from before thee.
God spoke through His servant Moses and said that "ALL that do these things are an abomination." Is it right then for man to say that not ALL are abominations, but that some are actually good? Do we not hear an echo of Satan’s very own words to Eve, "Indeed has God said... ALL who do these things are an abomination?"
But what harm does it do to watch a movie where a wizard is portrayed as a noble and heroic character? Measure by measure the resistance of a people is worn away until all manner of evil is embraced. I found it to be significant that at the same time Tolkien’s books were being made into blockbuster movies that the Harry Potter series of books was also being hungrily devoured by children leading to their own movies that were also highly popular. Harry Potter is a young student at the Hogwarts School of Wizardry, and whereas Tolkien was very sparing in depicting the actual workings of wizardry in his books, the author of the Harry Potter series is very detailed.
Millions of young minds have now been indoctrinated with favorable images of wizards and are being led into a free acceptance of those things in the occult realm that God calls an abomination. Little by little, through subtle compromises, society has been conditioned to accept darkness, and many saints have heralded these books and films as positive influences in the lives of the saints.
It seems that everything coming out of Hollywood in these days is tainted, but that should not be so surprising since the leaven of sin and decadence has had free course now for so many years. Perhaps one of the most abominable results of Hollywood’s influence has been her ability over time to lead the church to compromise her obedience to Christ. There was a time when the saints would not sit and listen to vulgar speech, nor watch things that were sexually impure. It was more important to them that they be found pleasing to God who said:
II Timothy 2:22
Now flee from youthful lusts and pursue righteousness, faith, love and peace, with those who call on the Lord from a pure heart.
Ephesians 5:3-5
But immorality or any impurity or greed must not even be named among you, as is proper among saints; and there must be no filthiness and silly talk, or coarse jesting, which are not fitting, but rather giving of thanks. For this you know with certainty, that no immoral or impure person or covetous man, who is an idolater, has an inheritance in the kingdom of Christ and God.
Why am I disturbed that Mel Gibson is making a movie on the passion of Christ, and the entire church world seems to have jumped on his coattails? For one, the above Scripture states that "no immoral or impure person... has an inheritance in the kingdom of Christ and God." Mel Gibson is an immoral and impure person. In the year 2000 he starred in the movie "What Women Want" where he played a character named Nick whose goal in life was to bed all the women his lustful heart desired. In reading the review of this movie at the following link: http://www.screenit.com/movies/2000/what_women_want.html, it is very apparent that this is a highly immoral movie filled with so much sexual impurity that the details fill a very lengthy portion of the page. To say that this movie is debauched and raunchy is to be very sparing. It is filled with an incredible amount of filth and Mel Gibson is right at the heart of all of it. I had considered including a portion of the description of this movie’s contents from the above link, but after reading what is in the movie I thought better of it.
The Scripture above also states that "there must be no filthiness and silly talk, and coarse jesting, which are not fitting...." This is exactly the kind of talk that has filled nearly all of Mel Gibson’s movies, from his debut movie "Mad Max" that was released in 1979, to the Lethal Weapon series of movies, and many that are more recent. In 1999 Gibson starred in the movie "Payback", and a reviewer of this movie had the following to say:
Payback (1999)
Although he's successfully played a wide range of characters throughout his career, actor Mel Gibson is probably best known for playing the tough hero character who pursues the villains, rights any number of purported wrongs and kills many of those responsible in the process.
Such characters have been cathartic favorites among moviegoers ever since light first made its way through that thin layer of celluloid and onto the silver screen. Whether he's taken care of aristocratic villains ("Braveheart"), any number of bad guys while in the guise of detective Riggs (the "Lethal Weapon" films), or fended off a bunch of post-apocalyptic punks (the "Mad Max/Road Warrior" series), Gibson has perfectly personified the character who "takes out the trash" in an audience pleasing fashion.
In playing such characters, however, Gibson never personifies the perfect hero. Quite the contrary, his characters are occasionally flawed and nearly always have a dark and edgy quality about them, as if they're only a step -- or misstep as it were -- away from becoming a bad guy themselves. That's what makes them -- and Gibson's performances -- so much fun to watch.
Well, now he's purposefully stepped across that line in playing Porter, the "bad guy as the hero" character in his latest film, "Payback."
The content review on the www.screenit.com website goes on to detail the usage of vulgar language in this movie, a large part of which is spoken through the mouth of Mel Gibson himself. Please bear with me as I paste in this section, for the issue being discussed is very serious and the saints must be made to understand the abomination that is being committed as such a profane and immoral person as Mel Gibson is positioning himself as an advocate of Jesus Christ while enlisting the support of Christian leaders everywhere in promoting his latest venture.
At least 38 "f" words (4 used with "mother" and 2 used sexually), 16 "s" words, 1 slang term using male genitals ("omitted"), 12 hells, 4 damns, 3 S.O.B.'s, 3 asses, 1 crap, and 8 uses of "Jesus," 4 of "G-damn," and 1 use each of "Christ," "Jesus Christ," "For God's sakes" and "Oh my God" as exclamations.
Lest you should think this is an aberration from Gibson’s usual fare, you only need check out the reviews of the "Lethal Weapon" series of movies, of which he has made four. I looked up just one of them and found that there were an identical number of uses of the "f" word, as this most vulgar of words that was once taboo was uttered 38 times in the space of a two hour movie. Also, lest you should think that Gibson has had a recent religious experience and has changed his ways, you should consider that in an interview concerning the movie "The Passion of the Christ" he stated that he has dreamed of making this movie for twelve years. This means that he was thinking of making the movie about Christ while he was filming his sexually debauched film "What Women Want", and also while he was filling his mouth with profanity in the making of a dozen other movies during this time.
Certain actors and actresses and other celebrity figures are often known for a particular genre of film, or a particular vice, and Satan has chosen certain ones to push the envelope of what is acceptable. Thus we see Madonna and Britney Spears pushing the limits of sexual propriety, as has Janet Jackson during the recent Super Bowl half-time show. Satan has his ‘anointed’ ones who are seeking to spread the darkness of his kingdom to greater depths. In this regard Mel Gibson has been a promoter of violence and vigilantism like no other actor.
Mel Gibson first burst on the scene with the "Mad Max" movies which were apocalyptic in nature and where violence and self-protection were the theme. He further pushed this theme with movies such as "Braveheart", and even in "We Were Solders". In the four movies of the "Lethal Weapon" series he played a rogue cop who excels in his violence. In the movie "Ransom" Gibson plays a wealthy father whose son is kidnapped, and when the police are unable to rescue his son in a timely manner he takes matters into his own hands. And of course there was "Payback", which along with "The Patriot" are all about revenge. There is nothing of godly character seen in these movies. There is no turning the other cheek, or giving place to wrath. The wrath and cruelty of Satan is displayed with great consistency by this veteran actor and director.
In a society that has gone mad with violence, the influence of Hollywood bears much of the blame. By glorifying violence, and violent means to gain vengeance or to take back what one has lost, Mel Gibson has been a leading evangelist of the kingdom of darkness to promote the spread of violence. How do any of these things qualify this man to make a film about the Christ? Christ was a Lamb that was silent before His accusers. He was meekly led to the slaughter when He could have called more than twelve legions of angels to deliver Him and to punish His persecutors?
The legacy of Mel Gibson has been sexual immorality, profanity, coarse jesting, extreme violence and vigilantism. All of these things have been brought into the homes of America and the nations of the world and have borne their foul fruit. These are not the works of the redeemed of the Lord. These are the works of Satan. The wise saint should then be extremely wary when a chief agent of Satan suddenly is seeking to cast himself as an evangelist of the kingdom of Light. Consider again the Scriptures that were found at the opening of this writing.
James 3:11-12
Does a fountain send out from the same opening both fresh and bitter water? Can a fig tree, my brethren, produce olives, or a vine produce figs? Nor can salt water produce fresh.
Luke 6:43-45
For there is no good tree which produces bad fruit, nor, on the other hand, a bad tree which produces good fruit. For each tree is known by its own fruit. For men do not gather figs from thorns, nor do they pick grapes from a briar bush. The good man out of the good treasure of his heart brings forth what is good; and the evil man out of the evil treasure brings forth what is evil; for his mouth speaks from that which fills his heart.
What then is the agenda of Satan in releasing this film? I believe, and I think the Spirit bears witness, that the goal is to desensitize the masses to extreme, graphic violence. Mel Gibson has been a forerunner in the promotion of violence his entire career. Consider the description of the contents of the movie "Payback" which he made only four years ago. As with all things in Hollywood, the extremity of that depicted must reach greater heights (or depths) in order to shock a progressively desensitized people. The reviewer of this movie stated that Gibson crossed a line in this movie, and this was necessary in order to include more graphic scenes of violence. As you read the partial description of this violence, consider what Gibson could possibly do to top this. In the movie "The Passion of the Christ" Gibson has found a way to do exactly this, and in a way that will insure that a large portion of Christians will watch the movie and applaud him at the same time.
In the movie "Payback" Gibson played a character named Porter. This character was horribly beaten up and physically assaulted. Again, compare this to the depiction of Christ in the passion movie.
We see that someone has shot Porter in the back. Porter kicks open a door that then slams his wife into a wall. Porter and Val purposefully crash their car into one driven by some Asian men who are carrying a briefcase full of money. Those men are injured and/or killed and Val takes one of the wounded and repeatedly smashes his head onto the dashboard and then kicks him in the head. Porter's wife holds a gun on him and then shoots him several times. Val then walks up and kicks Porter in the head and the two leave him for dead. Porter grabs an Outfit delivery guy and throws him across the room. He then repeatedly punches this man when he won't talk, tears the man's nose-ring from his nostril, and then holds his gun to the man's forehead. Although we don't see the actual act, Porter wounds a henchman as we see the man whose head, neck and the top of his shirt are bloody.
Reporting for some S
&M (sadomasochism) with Val, Pearl, dressed in leather lingerie that shows some cleavage, smacks and punches Val who returns the same to her (which she erotically enjoys). Porter slams a flip-down counter top onto a bartender's hand to get him to comply with Porter's demands. Rosie states that Val can't see any of the Outfit's hookers because he's gotten violent with them in the past. Porter holds a gun on Val and then prepares to strike him, but Pearl stops him stating that she'll do it (for her erotic pleasure). We then see her hit, punch and kick Val several times (he hits her back but Porter stops him) as well as her twisting her foot quite hard onto his crotch.Porter finishes him off by kicking him in the face and we then hear Pearl whipping him. Some men purposefully run their car into Porter, knocking him down onto the street. The occupants then grab Porter, put him on the hood and threaten to use a switchblade on his crotch, but stop when the police arrive. Detective Hick's partner slaps Porter on the back of his head and Hicks then punches Porter several times. Val holds a gun on Rosie and then grabs her by the hair as he leads her through her place. Her dog then attacks Val, he shoots the dog (but we later see that it was only injured), she attacks him and he then strikes her and then picks her up from the floor with a firm grip around her neck. He then hits her with his handgun.
Porter shoots a man in the shoulder, and then again in the knee as that man reaches for his other gun. He then steps down on the man's shoulder with a great deal of pressure to make him talk. Finally, he puts a pillow on the man's head and then shoots him through it, killing the man. A car explosion kills three people. Porter punches Carter's henchman, and kicks one in his head, rendering both unconscious. Porter shoots another man dead. We see another dead or unconscious person that Porter has killed/injured. Porter then holds his gun on other men and fires a shot through a suitcase one man is holding. A man holds a gun on Porter who then takes the gun from him and repeatedly slams his head against the glass divider in a cab.
The driver then holds a shotgun on Porter. A van pulls up next to a car and the people inside open fire with machine guns, riddling two of the three people inside the car. Porter manages to get out and fires his handguns into the van, killing many of those inside. The driver, however, backs the van into Porter and drives him backwards into a bunch of boxes. Porter then shoots and kills several more people. A person knocks Porter unconscious and then slugs Pearl. Some men punch Porter and then use a mallet to smash several of his toes, one by one, trying to get him to talk (we only hear the impact, but do see his pained reaction). A large explosion damages a building, kills at least three people inside it, and wounds or kills.
http://www.screenit.com/movies/1999/payback.html#p
Even as Satan has certain celebrities that are pushing public sexuality to new limits, he also has those who are pushing violence to greater extremes. Mel Gibson has from the beginning of his career starred and directed in violent movies. The Mad Max movies pushed the limits back in the late seventies and early eighties. The Lethal Weapon series continued to promote senseless violence, and they led eventually to the 1999 movie "Payback". Yet extremely violent movies, like those that are sexually graphic, can only corrupt and desensitize those who go to watch them. In the movie "The Passion of the Christ" Mel Gibson has found a way to do a movie that is non-stop violence and brutality from beginning to end, a violence so severe that many who have watched it have come away nauseated and emotionally disturbed for days. And he has also found a way to insure that many of those whom Satan wants to corrupt the most will watch it.
What is the effect of watching two hours of the most graphically violent and cruel behavior that men can inflict on a human being? At first there is emotional shock, and later there is emotional dullness. Like a man that has eaten so much salt that his taste buds can no longer detect small amounts of the spice, so those who sit through a viewing of such graphic violence will at first be moved to great emotional extremes, but later an insensitivity will set in and it will take even greater things to shock them next time.
I know there are those who will argue that a depiction of the passion of Christ will have positive merits, but do not be deceived, Mel Gibson has been a tool of Satan for one purpose, and that is to spread Satan’s own violent nature and make men, women and children everywhere less sensitive to acts of cruelty and physical violence. The leopard has not changed its spots.
I will not be taking my family to watch this brutally graphic movie directed by a master of violence. I will not subject them, or myself, to Mel Gibson’s vision of ultimate cruelty. We have the Scriptures, and we have the Spirit of God, which is something that Mel Gibson does not have (One of the fruits of the Spirit is gentleness, and the Spirit of God is peaceable and pure. These are qualities lacking in all of Gibson’s movies.) We shall know them by their fruit.
Luke 6:43-45
For there is no good tree which produces bad fruit, nor, on the other hand, a bad tree which produces good fruit. For each tree is known by its own fruit. For men do not gather figs from thorns, nor do they pick grapes from a briar bush. The good man out of the good treasure of his heart brings forth what is good; and the evil man out of the evil treasure brings forth what is evil; for his mouth speaks from that which fills his heart.
Selah! Pause and consider!
MONICA BELLUCCI* (MARY MAGDALENE)
1. It seems that one has had to star in a Dracula movie in order to qualify for casting as Mary or Mary Magdalene, since both Ms. Morgenstern and Ms. Bellucci were cast in Joe Chapelle's television special Dark Prince: The True Story of Dracula (2000) and the American remake of Dracula (1992) respectively!
2. Ms. Bellucci is not just a typical porn star, but perhaps the most vile in the history of mass-market movie-making. Consider this excerpt from Steve Rhodes' (www.InternetReviews.com) review. "Irreversible (co-starring Monica Bellucci) makes pure pornography look pretty appealing in comparison." Consider also these excerpts from a press release from the Society for the Promotion of Community Standards (www.scoop.co.nz/mason/stories/PO0303/S00182.htm).
"Premiered at last years Cannes Film Festival, 'Irreversible' proved so shocking that 250 people walked out, some needing medical attention" and (this movie is) "hard-core pornography."
"Ms. Bellucci insists that her father, who was at the premiere, enjoyed it. 'It was hard for him to watch, but he loved it', she said."
This praise by Bellucci's father is staggering when one considers he witnessed her being raped and sodomized in this film for a full ten minutes without interruption! I wonder what James Dobson's reaction would be if this was his daughter he was watching in "Irreversible", and who would also be playing the part of Mary Magdalene? In effect, if he is endorsing The Passion of the Christ, he is endorsing it as if his daughter was Monica Bellucci (being, as he is, the head of Focus on the Family).
3. You mentioned in The Passion of the Christ that "no one comes off looking 'good' - except Jesus" and/or the "Principal Figure". When one considers the impact that the Gnostic gospels, Alexandrian manuscripts, Dead Sea Scrolls and sundry pseudoepigraphica have had with respect to their influence and growing inclusion in modern Bible versions, one can begin to see another facet of the hidden agenda of this movie...that being that if the disciples abandoned Jesus in his hour of need, can they (with their feelings of guilt and despair) be trusted to give an accurate account in their writings about Jesus' ministry. Thus also the rationale for the parenthetical treatment of Mark 16:9-20, which effectively counters those of us who would argue that this film does not depict the last twelve hours of Christ's life on earth. (Thank you Danae Dobson, from the producers of The Passion, for parroting their promotional material.)
4. Of all the movies that have ever been produced, this is the "Principal Candidate" for brainwashing believers with subliminal embeds.
Consider this quote from Mel Gibson concerning Satan: "The woman we cast is very beautiful. I didn't want the stereotypical devil with horns. I don't believe that is how the devil presents himself/herself. He/she is very seductive and doesn't put out signposts announcing who he/she is." Now consider this bio of Monica Bellucci."Film critics are quick to compare Monica Bellucci to previous Italian beauties, but she is her own brand of sultry icon. With roles as a topless vampire in Bram Stoker's Dracula, a taciturn war widow in Malena (2000), a charmed courtesan in Le Pacte des Loups (Brotherhood of the Wolf) (2002), and a sci-fi vixen in the Matrix sequels (2003), Bellucci has proved to be a bold blend of earthy and ethereal, actress and star...Bellucci went on to star as the seductive Queen of the Nile in the comic book adaptation Asterix & Obelisk: Mission Cleopatra."
This sounds to me like Gibson is describing Monica Bellucci, does it not? But she plays Mary Magdalene, not Satan! Or does she? Can a rotten tree produce good fruit? Let's briefly look at four of Bellucci's previous movie roles. As already noted above, she played Dracula's (topless) bride in Bram Stoker's Dracula (1992). In Malena, Bellucci plays a voluptuous bride, whose husband has left for the war, and who becomes an object of lust by the village boys and men alike. "As Malena's fortunes, and those of Italy, fall, she dyes her hair blond and whores herself to Nazi officers." In Brotherhood of the Wolf, she plays a supporting role with her actor/husband Vincent Cassel in a movie about "a mysterious werewolf terrorizing rural France".
In Irreversible (2002), she stars with her husband in a movie "with two of the most horrific scenes in cinematic history", according to film critic Steve Rhodes. Rhodes, among other things, says that "Irreversible makes pure pornography look pretty appealing in comparison" and "nothing in this sleazy film is worthwhile". See www.InternetReviews.com. In the movie's "big" scene, Bellucci's character is raped and sodomized with a knife at her throat with almost no editing or camera movement for between five and ten minutes, depending on which reviewer is being cited. Bellucci is on record as insisting that her father, who was at the premiere, enjoyed it. "It was hard for him to watch, but he loved it", she said.
I wonder what James Dobson's reaction would be if it was his daughter he was watching in the role of Mary Magdalene, and then was given a video of Irreversible, where he would see her raped and sodomized in graphic detail? By endorsing this movie, along with his daughter, he has destroyed all pretence of a focus on the family. Jack Graham, Billy Graham, and all the other "leaders" who have endorsed this Hollywood/Catholic production and thus assured that their coffers will continue to overflow should heed the words of the true Jesus Christ (not the Hollywood/Catholic Icon): "Because thou sayest I am rich, and increased with goods, and have need of nothing; and knowest not that thou art wretched, and miserable, and poor, and blind, and naked: I counsel thee to buy of me gold tried in the fire, that thou mayest be rich; and white raiment, that thou mayest be clothed, and that the shame of thy nakedness do not appear; and annoint thine eyes with eyesalve, that thou mayest see. As many as I love, I rebuke and chasten: be zealous therefore, and repent. (Revelation 3:17-19, Authorized Version).Excerpt from “Sexual violence depiction causes audience collapse”
Friday, 21 March 2003, 8:20 am
Press Release: Society for the Promotion of Community Standards“Premiered at last years Cannes Film Festival, “Irreversible” proved so shocking that 250 people walked out, some needing medical attention (see references below). One wonders whether medical teams will be on hand at the Office of Film and Film and Literature tonight to assist troubled film-goers. Following standard procedures the participants will be paid a tax-payer funded honorarium for viewing the hard-core pornography and will be served dainties to salivate the palate, diminish feelings of boredom, and psychologically assist them to cope with the deluge of abuse in the film directed at homosexuals and women.
“Irreversible, directed by Franco-Argentinian director Gaspar Noe, describes a woman's rape and her boyfriend's bloody quest for revenge. Examining a drug-crazed man's violent pursuit of revenge against a twisted pimp he believes is responsible for raping and disfiguring his girlfriend, the film is undeniably shocking and disturbing. The script consists almost entirely of expletives directed against homosexuals and women, and a scene in which Italian actress Monica Bellucci is raped lasts a horrifying 10 minutes. Shown anti-chronologically -- the violent conclusion first followed by sequences taking the viewer back through events -- the film delivers a stomach-churning opening punch set in 'Rectum,' a sado-masochist gay club.
“Fire wardens had to administer oxygen to 20 people (at the Cannes Festival) who fainted during the film - which includes a 10-minute depiction of sodomy and also contains graphic scenes of rape and murder. (The French sex-violence film Baise-Moi, which Bill Hastings failed to ban or impose cuts to, also has a lengthy explicit violent rape scene complete with penetration shots and depictions of sodomy).
“'Irreversible' has received mixed reviews from critics, but those remaining in the audience at the end of the early Saturday morning screening at Cannes gave it a five-minute standing ovation. Italian actress Monica Bellucci, whose character is raped and beaten in the film, said it was good to let people feel a range of emotions. "This is a film that people love or they hate, but it's good to have these kind of extremes,' she said.
“Critics had walked out of Thursday's screening of Irreversible, describing it as 'sick' and 'gratuitous'. Fire brigade spokesman Lieutenant Gerard Courtel said: 'In 25 years in my job I've never seen this at the Cannes festival. The scenes in this film are unbearable, even for us professionals.' Even Monica Bellucci admits she cannot watch some of the scenes without looking away.
“Ms Bellucci insists that her father, who was at the premiere, enjoyed it. 'It was hard for him to watch, but he loved it,' she said. The film has also gained praise from critics impressed with its artistry, clever camera work and unrelenting examination of the pure anger that drives revenge.” (
end quote)
MAIA MORGENSTERN (MARY, MOTHER OF JESUS)
Maia Morgenstern fares somewhat better than Bellucci in her bio, but I'm wondering if an appearance in a Dracula remake is a prerequisite to playing a starring female role in The Passion of the Christ, as we are told that Morgenstern appeared in Dark Prince: The True Story of Dracula (2000). Let's briefly consider Ms. Morgenstern's words as quoted in the trailer on the official movie website, those being that "she did her best film work prior to the Passion of the Christ in...The Oak Tree (1992) and Witman fiuk (Witman Brothers) (1997)". According to a press release from the International Film Festival at Rotterdam, Witman fiuk is "a kind of Freudian case-study in the land of Dracula... Their (the two brothers') cold mother (played by Maia Morgenstern) is hardly affected by the death of her husband and she soon has a lover.
The boys are meanwhile obsessed by the death. They pay nocturnal visits to their father's grave and start to dissect animals. At school, their rather strange behaviour leads to reprisals by other pupils. When the elder brother Janos meets the pretty young prostitute Irene, she becomes the new object of obsession." Is this the "best film work" that groomed Morgenstern for her role as the mother of Jesus Christ? One cringes at the thought! (Dennis Palmu)
See Dennis Palmu's Addendum: Mainstreaming Vampirism
A viewer of the Passion film reported one scene that was redolent of vampirism:
“...Mary drinking Jesus' blood. While he is on the cross, Mary comes up and kisses his foot. The blood runs down into her mouth, and she backs away almost licking her lips with blood all over her face (that's taking transubstantiation literally).” (FBIS)
Roman Catholics who believe in Eucharistic Miracles, the actual transformation of the host and wine into flesh and blood, will probably think it Biblical that Mary literally partook of Jesus' blood. This false doctrine, however, is a form of vampirism which perverts the Biblical doctrine of the atonement into a fleshly doctrine of devils.
For a history of Vampirism, see: Heeding Bible Prophecy: Vampirism
ROSALINDA CELENTANO* (SATAN)
Like Monica Bellucci (Mary Magdalene) and Claudia Gerini (Pilate's wife), Rosalinda Celentano's nude photos are plastered all over the Internet. Itagirls** is only one of the plethora of pornographic websites featuring Rosalinda Celentano, as well as Monica Bellucci and Claudia Gerini. (CAVEAT: Only mature women should view this website and solely for the purpose of verifying our report.)
Rosalinda Celentano would seem to be bisexual, appearing in films with shaved head and eyebrows, and some of her pornographic poses are lesbian trash. Bisexuality would be appropriate for Celentano's role as Satan in “The Passion of the Christ.” On ABC's Primetime, Gibson said of this character: “It's attractive, yet it's intimidating. Masculine yet feminine.” David Bay has presented some interesting insights concerning Celentano's bisexual character:
“Virgin Satan Mother Carrying Divine Child -- This depiction of Antichrist is the most unbiblical and shocking part of this entire movie, in my opinion. As we stated earlier, Satan is depicted in this movie as a female who speaks in a male voice, thus possibly denoting androgyny. When I discussed this version of Satan during the Garden of Gethsemane portion, I said that we would discuss a time in the movie in which Satan was definitely fulfilling a feminine role. Listen to how this scene plays out.
“During the time when Jesus was being flogged by Pilate's professional torturers, a considerable crowd gathered. The Virgin Mary and Mary Magdalene had pressed to the front, when the Virgin carefully watched every detail, aiding Jesus with her spiritual strength when he got especially low. The camera suddenly panned to the opposite side of the crowd. The female Satan was carefully winding her way through the crowd, looking very menacing; she passed behind the back of the Roman officer in charge of the flagellation. Like the Virgin Mary, this female Satan was wearing black, but without the white linen that denoted a nun's habit.
“ Suddenly, as this female Satan moved away from behind the officer, you could see that she was carrying a very large, white, almost-albino child. Clearly, this female Satan was depicting a Virgin Mother and Divine Child. On the one side of the crowd, the Virgin Mary was contemplating her Divine Child, Jesus. This female Satan was obviously being pictured here as the opposite of the Virgin Mary, which would make her Divine Child the opposite of Jesus, whom the Bible calls Antichrist.
“The message can be no other. Now, why was an Antichrist scene included in this movie which was created to be consistent with the four Gospels? This scene is most definitely not Biblical and as far as I know, is not Catholic. Therefore, why was it included? Frankly, I do not know for certain. Bt, the world is hurtling toward the fulfillment of prophecy relating to the End of the Age and the appearance of Antichrist. We can see that Jesus is near, 'even at the doors'. Was the inclusion of this Virgin Satanic Mother and her Divine (Antichrist) Child meant to signify that the appearance of the Antichrist is near, even at the doors?” (Cutting Edge Initial Eyewitness Report on The Passion)In his portrayal of Rosalina Celentano as Satan, Gibson offered his philosophy about how evil presents itself to the world: “The woman we cast is very beautiful. I didn't want the stereotypical devil with horns. I don't believe that is how the devil presents himself/herself. He/she is very seductive and doesn't put out signposts announcing who he/she is.” We agree that evil often presents itself in the most appealing forms; however, in his response to an inquiry by Christianity Today, Gibson added a new twist:
“When asked why he portrayed Satan—an androgynous, almost beautiful being played by Rosalinda Celentano—the way he did, Gibson replied: 'I believe the Devil is real, but I don't believe he shows up too often with horns and smoke and a forked tail. The devil is smarter than that. Evil is alluring, attractive. It looks almost normal, almost good—but not quite.
“'That's what I tried to do with the Devil in the film. The actor's face is symmetric, beautiful in a certain sense, but not completely. For example, we shaved her eyebrows. Then we shot her almost in slow motion so you don't see her blink—that's not normal. We dubbed in a man's voice in Gethsemane even though the actor is a woman… That's what evil is about, taking something that's good and twisting it a little bit.'”
Is this how evil appears? Good, but with a twist of evil? What saith the Scriptures about the personification of Satan? According to God's description, Satan would take on the appearance of Mel Gibson (or any of the Evangelical sycophants promoting this movie) rather than the malevolent character of Rosalinda Celentano!
For such are false apostles, deceitful workers, transforming themselves into the apostles of Christ. And no marvel; for Satan himself is transformed into an angel of light. Therefore it is no great thing if his ministers also be transformed as the ministers of righteousness; whose end shall be according to their works. (II Cor. 11:13-15)
Although Mel Gibson's rendition of Satan would not fool anyone, was there a hidden message in portraying the devil as an androgyne, i.e. male-female? Hollywood productions are strewn with occult messages for those who have been initiated in the ancient mysteries, whose “church” is the movie theater and whose holy book is the Corpus Hermeticum.
In fact, the term hermaphrodite derives from Hermes, the ancient demi-god and author of the Hermeticum. “The word androgynous comes from two Greek words, andros and gynos, meaning “man” and “woman” respectively, and refers to a person who combines both male and female elements within himself or herself. The word hermaphrodite is an analogous word. It comes from the Greek god Hermaphroditus, who was born of the union of Hermes and Aphrodite and embodied the sexual characteristics of both of them.”
When Mel Gibson refers to “Satan—an androgynous, almost beautiful being...alluring, attractive” he is expressing the occult view of Lucifer as androgynous. William Still wrote in The New World Order, “...to Luciferians, God has a dual nature; he is the good god, Lucifer, and the bad god, Adonay, both supposedly equal in power, yet opposite in intent... Lucifer is further divided into Isis, the female principal, and Osiris, the male principal.” (p.31) [See: Heeding Bible Prophecy: Androgyny]
DAVIDE MAROTTA (ALBINO MAN-CHILD)
Davide Marotta, an Italian dwarf, played the albino baby with black hair. Davide Marotta is The Passion’s “enfant terrible” in more ways than one! As with so many of the actors and actresses in “The Passion”, Davide Marotta is steeped in the horror genre. At the So Sweet, So Perverse website we find Marotta's “Tommy the Child Demon” character leering around an apartment door in a scene from “Demons 2: The Nightmare Returns” (a.k.a. “Demons 2: The Incubus Returns”) (1986). A synopsis on Amazon.com reads: “The demons are back. This time through a TV set in a high-rise apartment block, turning Sally Day’s sixteenth birthday party into an event of unspeakable horror.” “Demons 2” is obviously the sequel to “Demons”, about which guest reviewer Richard Taylor makes the following comments on Mortado’s Page of Filth: “Demons made use of a great idea by putting unsuspecting victims in a movie theater where the terrifying events on the screen become a reality for the theater patrons.” Isn’t “The Passion of the Christ” a kind of “reality theatre” for Christians? As Jody Dean put it, “There isn’t even the sense that one has just watched a movie. What it is…an experience - on a level of primary emotion that is scarcely comprehensible.”
In “Phenomena” (1985) we find Marotta in another horror movie. A Polish reviewer described this “screen gem”: “A young Jennifer Connelly can communicate telepathically with insects. The area she arrives in is being terrorized by a psychotic killer, who has been murdering coeds and making off with their decapitated bodies... It all has something to do with Daria Nicolodi and the deformed creatures she keeps chained in the basement...Wonderful atmosphere, gorgeous cinematography and plenty of gruesome gore make this one a must-see. (Dario) Argento (director and co-writer) goes totally over the top in Phenomena with a swimming pool full of maggots and rotting corpses, a mad dwarf (our infamous Mr. Marotta), a razor wielding monkey and grisly decapitations. Great heavy metal score by Iron Maiden, Motorhead...” Marotta and his “Phenomena” character were also featured in the documentary titled: “Dario Argento’s “World of Horror” (1985). (Dennis Palmu)
Dario Argento stated, “Murder is very important in my films…it is also very beautiful.” Well, Dario Argento’s “World of Horror” will become reality when the Tribulation events begin and the real demons who conduct this horror show on the world stage will find murder to be very beautiful indeed. Freaks like Davide Marotta are no doubt being cast in the role of demons to condition mankind for their soon appearance. In another Cutting Edge article, David Bay stated his view that Satan’s albino child must represent the coming Antichrist:
“Now, let us go back to the severe flagellation scene. The Virgin Mary and Magdalene are on one side of the crowd surrounding the pillar. Suddenly, on the other side - virtually the opposite side - the sinister figure of the female Satan is shown gliding through the crowd. At first, you only see her, and the thought crossed my mind that this Satan was on the opposite side of the Virgin Mary simply because the two are spiritual opposites. The Virgin Mary is seen a spiritually virtuous, as the Catholic Co-Redeemer, while Satan is clearly the opposite type of Virgin Mother, exceedingly evil.
“The camera focuses again on Satan as she passes behind the Roman officer in charge of the scourging. As soon as her body clears the body of the soldier in front of her, you can see that she is carrying a very white, almost albino, child. At first glance, you cannot see the face of this evil 'Divine Child', but his head is enormous compared to his body and his hand is caressing the cheek of the female Satan.
“Immediately, I thought, this scene is so opposite to the scene so popular within Catholicism, of the Virgin Mary carrying her Divine Child, Jesus. Therefore, if Satan is a Virgin Mother, she is really female, not androgynous. Furthermore, this evil Virgin Mother -- spiritually opposite to the Virgin Mary—must be carrying a child opposite to Jesus! Which person does the Bible teach in going to come to mankind in the 'guise of Christ'—Antichrist!
“There can be no other explanation. This baby is Antichrist!
“Slowly, the evil Virgin Mother figure slides the clothing off the baby's shoulder, revealing swirls of the type of black hair you would expect from a fully grown man. This baby then slowly turned his face toward Jesus and sneered. The scenario being depicted is that he saw Jesus' terribly bloody scourging and was greatly pleased. The face of this baby is terribly evil—but it was a human face, not a demon face.” (Why is Antichrist Symbolism Prevalently Shown in "The Passion"?)
When asked by Mark Moring of Christianity Today to explain this grotesque creature, Mel Gibson revealed his age to be precisely 40 years old! Moreover, the swirls of black hair, mentioned above, grew on his back, suggesting a hybrid life form:
“But what about the ugly baby?
“'Again,' said Gibson, 'it's evil distorting what's good. What is more tender and beautiful than a mother and a child? So the Devil takes that and distorts it just a little bit. Instead of a normal mother and child you have an androgynous figure holding a 40-year-old 'baby' with hair on his back. It is weird, it is shocking, it's almost too much—just like turning Jesus over to continue scourging him on his chest is shocking and almost too much, which is the exact moment when this appearance of the Devil and the baby takes place.'”
An androgynous mother holding a 40-year old baby with hair on his back distorts the mother-child motif “just a little bit”??? In the first place, that's no baby, but a “man child,” probably the counterfeit of Revelation 12:5: “And she brought forth a man child, who was to rule all nations with a rod of iron: and her child was caught up unto God, and to his throne.”
Curiously, albino twins were cast as dreadlocked demons in “The Matrix Reloaded”, as mentioned in An International Hoax, which identified other strange correspondences between “The Passion” and “The Matrix Reloaded”:
“In perhaps the movie’s wittiest scene, the Oracle sends Neo and company to visit a decadent rogue entity called the Merovingian (Lambert Wilson), who amuses himself with orgasmic-chocolate software programs and is guarded by dreadlocked demonic albino twins (Neil and Adrian Rayment) [Rastafarians] whose nifty superpowers almost match Neo’s.” (A future worth fighting for)
One reviewer, Gavin Charlesworth, took the Matrix twins for ghosts, rather than albinos, which is, in fact, the occult symbolism of albinism: “I never thought of the Twins as Albinos but obviously I can see how others might have, but in a film full of such diverse and very different characters such as The Matrix I just thought of these guys more as ghosts (due to their ability to sort of become transparent and float in the air and walk through solid objects) that looked cool in white.” (Albinism in Films)
Years ago, an article in the British Medical Journal made the unbiblical claim that Noah was an albino: “That Noah was an albino, as Professor Arnold Sosby claims in an article in the British Medical Journal. He quotes the Book of Enoch that Noah 'had a body white as snow, hair white as wool and eyes that are like the rays of the sun.'... Professor Sosby cites a Dead Sea scroll that Noah's mother had to assure the father, Lamech, that the unusual baby was really his own and 'not the child of any stranger or of any of the Watchers or of the Sons of Heaven.'” (FATE magazine, Aug. 1959, p.22)
“Ancient Myths: Is There A Similarity Between The Nephilim and Sunshine's Race?” elaborates on this theme using the apocryphal Book of Enoch as evidence that Enoch and Noah were the offspring of fallen angels:
“The word ‘Nephilim' means literally ‘those who fell from the sky (or heavens)' or ‘the fallen ones'...
“There were giants in the earth in those days; and also after that, when the sons of God came unto the daughters of men, and they; bare children unto them, the same became mighty men which were of old, men of renown." - Genesis 6:4 (King James Version)...
“They (the leaders) and all of them took for themselves wives from all that they chose and they began to cohabit with them and to defile themselves with them; and to teach them sorcery and spells and the cutting of roots; and to acquaint them with herbs. And they became pregnant by them and bore great giants three thousand cubits high...' - Dead Sea Scrolls, fragment 4Q201...
“There is also the Book of Enoch which is devoted almost entirely to the Nephilim and was deleted from the Torah by a Rabinical Council in 435 b.c. The reason they gave for removing it was a concern that the people of the future might one day confuse the Nephilim for God.
“It took a lot of digging, but I was able to come up with the Book of Enoch and learned that he ended up living with them toward the end of his life. This is why it tells us in the Bible that Enoch 'walked with God' rather than giving us an age at death. No one of the time seems to have known just when he died, but he was still living when Noah was born. Enoch was Noah's Great Great Grandfather.
“Noah was an albino and his appearance at birth caused a good deal of panic in the family because they were afraid he may be half Nephilim. This is how I figured out what the Nephilim looked like. They arrived during Jared's lifetime according to the Book of Jubilees and this is what Moses said about them...
“'And he called his name Jared, for in his days the angels of the Lord descended on the earth, those who are named the Watchers, that they should instruct the children of men, and that they should do judgment and uprightness on the earth.' Jubilees Chapter 4:15 - 20.
“Enoch had a rather odd way of describing how the Nephilim bred with humans... '...And they shall produce on the earth giants not according to the spirit, but according to the flesh...' - One Enoch, Chapter 107.” (Otherplane)
Taken together these varied sources indicate that the albino “man child” in “The Passion of the Christ” is indeed an Antichrist figure, and that the Antichrist will be an offspring of the “Nephilm,” the fallen angels who mated with human women, as happened in Genesis 6. (However, Scripture does not indicate that the Antichrist will look like Davide Marotta, but probably more on the order of Jim Caviezel.) Because “The Passion” film presented no information about the virgin birth or the life of Jesus Christ prior to the crucifixion, we should not be surprised when all manner of unbiblical sources are used to validate the Antichrist's “divine” lineage through Enoch, Noah and Jesus, who will be misrepresented as descendants of the Nephilim.
Also called “Watchers,” these fallen angels will pose as extraterrestrials from other planets who have come to earth to teach the human race how to become “Christs” i.e., to transcend matter to the higher plane of “spirit”, after the manner of Enoch and Jesus. These demons are appropriately called “The Great White Brotherhood,” according to The Stargate Conspiracy: Revealing the Truth Behind Extraterrestrial Contact, by Lynn Picknett and Clive Prince, who cite James Hurtak's Keys of Enoch as evidence that the “externalisation of the hierarchy” will be in the form of two councils:
“[Dr. Paschal Beverly] Randolph, [Reuben Swinburne] Clymer's mentor,...believed that throughout history a series of initiatory orders has existed which is controlled by higher spiritual beings known as the Great White Brotherhood, and Clymer claimed that the Grand Master of his order [Fraternitas Rosae Crucis] was directly accountable to them. More important is the fact that Randolph used the name 'Hierarchy' to describe these higher spiritual beings--the same term used by Bailey, Hurtak, Puharich and Whitmore. And besides believing that a Council of Nine direct certain esoteric schools from France, Randolph wrote of a Council of Twenty-Four, which also appears in Hurtak's The Keys of Enoch. Interestingly, Randolph believed that 'spiritual beings from other planets' often visit the earth.” (p. 289)
See: Heeding Bible Prophecy: Spiritual Hierarchy (European Council of Princes/Merovingian Bloodline)
CLAUDIA GERINI* (CLAUDIA PROCLES, WIFE OF PONTIUS PILATE)
Claudia Gerini, until her minor role in Under The Tuscan Sun (2003), was virtually unknown to North American audiences, appearing mostly in movie and television productions in Italy. Gerini, who plays Pilate's wife in The Passion of the Christ, fits in well alongside fellow caste members Monica Bellucci (Mary Magdalene) and Maia Morgenstern (Jesus' mother Mary). Why? Because, like Bellucci, she is a big favourite on pornographic web sites! As a matter of fact, many of the pictures in these photo galleries are more graphic than Bellucci's, and leave nothing to the imagination. Clicking through the list of websites that come up through a search engine, one is transfixed by the array of pornographic pop-ups that appear faster than ducks in a shooting gallery. We are told in a mini bio that "her parents, young employees, had liberal ideas". Judging by their daughter's graphic photo galleries, these ideas affected (and infected) Claudia profoundly. She married her manager, Alessandro Enginoli, in 2002. (Dennis Palmu)
Under The Tuscan Sun, in which Claudia Gerini played a minor part, is based on Frances Mayes' novel by the same name. This highly visual Italian production glorifies Tuscany, the region of northern Italy whose most notable city is Florence, the birthplace of the Renaissance under the patronage of the Medici oligarchy.
"While much of Europe was still rubbing the sleep out of its eyes and waking up from the dark Middles Ages, Florence (Firenze) erupted with enlightened thinking and artistic creations. Between the fourteenth and sixteenth centuries, the Medici family’s generous (and some might say egocentric) ways helped ensure Florence’s high wrung on Europe’s evolution and power ladders. More importantly, this energized culture gave birth to a steady parade of true artistic geniuses: Botticelli, Brunelleschi, Cellini, Donatello, Fra Angelico, Ghiberti, Giotto, Leonardo [DaVinci], Michelangelo, and Raphael, not to mention the literary master Dante Alleghieri. Serious art-lovers, discerning travelers, average tourists are all sure to be awestruck by even the most overexposed works: Michelangelo's David, Botticelli's Birth of Venus, Brunelleschi's fish-bone brick dome of the Duomo cathedral." (MSNBC)
Most of the actors and actresses in “The Passion of the Christ” are Italian and the movie itself was filmed in Italy, origin of the Renaissance. For three centuries, from 1434 to 1737, the famed Medici political dynasty ruled Tuscany, one of the largest centers in the world at the time, comparable to New York of today whilst the Medici can be compared to the Rockefellers. Most importantly, the Medici financed the dissemination of Neo-Platonic philosophy throughout Europe via their Platonic Academy of Florence and, notably, through their infiltration and takeover of the Vatican. During the 15th century, the Corpus Hermeticum (the core documents of the Hermetic tradition) was brought (probably from Mount Athos in Greece) to the Platonic Academy in Florence, where it was translated into Latin and published in 1463.
The Medici were so instrumental in facilitating the transition of Europe from Christian to Neo-Platonic philosophy that, according to the Discovery Channel, “No fewer than 50 members of the family that dominated the Florentine Renaissance are to be exhumed in the attempt to unveil their last secrets, Italian authorities have announced.... Starting from June, corpses will be removed from the monumental tombs in the Medici Chapels at Michelangelo's church of San Lorenzo in Florence, allowing scientists to reconstruct the dynasty's genetic make-up and their real family tree.”
Now what would motivate scientists to reconstruct the genetic make-up of this medieval oligarchy? Is it possible that the DNA of the Medici will reveal a Merovingian pedigree? Fritz Springmeier included them in The Top 13 Illuminati Bloodlines:
“The original start of the Prieuré de Sion appears to have been the idea of a number of powerful bloodlines, and included various descendents of the Merovingians, including the House of Lorraine, the House of Guise, the Medicis, Sforzas, the Estes, the Gonzagas, and the St. Clairs (Sinclairs). The Medicis are tied to the Black Nobility also.” (p.79)
Consider the findings of the Center For Cohanim, Jerusalem, where genetics research is being used to determine Jewish descent, and even to identify and locate the lost tribes of Israel, which Merovingians claim to be:
“...genetic studies of diverse present day Jewish communities show a remarkable genetic cohesiveness... A common geographical original can be seen for all mainstream Jewish groups studied. Using the CMH [Cohen Modal Hapoltype, the standard genetic signature of the Levites] as a DNA signature of the ancient Hebrews, researchers are pursuing a hunt for Jewish genes around the world. This could have ramifications in the search for the Biblical Ten Lost Tribes. Using the genetic markers of the Cohanim as a yardstick, these genetic archaeologists are using DNA research to discover historical links to the Jewish people.” (Aish HaTorah)
The next profile, of Hristo Jivkov who played John the Apostle, details the power, influence and genealogy of the Medici.
HRISTO JIVKOV (JOHN)
Hristo Jivkov, who plays the apostle John, also performed the part of Giovanni de Medici in Il Mestiere Delle Armi (The Trade of the Crews).
“Noted Italian director Ermanno Olmi uses a true story from the 16th century as a parable calling for contemporary disarmament in this historical drama. Giovanni De Medici (Hristo Jivkov) was a famed military leader who was the commander of the Black Band, a company who painted their armor black in order to allow them to travel unseen at night. In 1526, De Medici was in charge of an army of mercenaries hired by the Pope to prevent Italy from falling to German troops. During a heated battle with German forces, De Medici was struck by cannon fire in his upper legs. De Medici hoped there was some way his limbs could be saved, but when gangrene began to set in, they were amputated; however, it soon became obvious that it was too late; the infection was spreading through his body. For four days, De Medici bravely fought against the painful gangrene that was ravaging his system, and he often looked back on the awful toll of his life as a warrior as he struggled through his final hours. Il Mestiere Delle Armi was shown in competition at the 2001 Cannes Film Festival.” ~ Mark Deming, All Movie Guide (Il Mestiere Delle Armi)About Giovanni de Medici (aka Giovanni from the Black Band):
“He was the son of Giovanni dei Medici (Giovanni 'Popolani', of the cadet branch of the family, founded by Lorenzo the Elder) and Caterina Riario Sforza, one of the most celebrated viragos of the Renaissance. A brilliant military leader - Machiavelli saw him as the only man capable of uniting Italy - so many legends have surrounded his name that his truly savage nature has long been forgotten. He was given his nickname when he changed the stripes on his condottiere's emblem from white to black as a sign of mourning for the death of the Medici pope Leo X. He was a real mercenary and would only fight for whoever paid him the highest sum; he changed sides as many as four times in four years, from 1522-26: first he was in the pay of the Pope, then the French, followed by the Empire and then the French again. He commanded the army of the League of Cognac, a French-Venetian-Papal alliance created by Pope Clement VII (another Medici) against the Imperial armies, but was killed by a shot from a culverin, leaving the path open for the German mercenary soldiers and the Sack of Rome (1527).” (Giovanni dalle Bande Nere)
About the Medici family:
During the Middle Ages, the Medici oligarchy funded the Academy of Florence to spread Hermetic Cabalism and to infiltrate the Vatican with this heresy. In the 15th century, the Medici family would revolutionize the political and religious climate of Europe. Funded through the largesse of the Medici oligarchy, Italy became a major catalyst for the Renaissance during which the occult traditions were once again disseminated throughout Europe in the guise of Neo-Platonism.
According to Dagobert's Revenge, the Merovingian dynasty was the mastermind behind the Renaissance: “René [d'Anjou] was the Angevin monarch who, at the time of the renaissance, single-handedly spearheaded a Hermetic revival in Europe. It was he who personally convinced Cosimo de Medici to translate many ancient texts such as the Corpus Hermeticum into various European tongues for the first time ever... The Angevins were primarily advocates of the Regia, or Royal Art, of hermeticism; a tradition which according to legend was passed down to man by a race of fallen angels.”
Anjou was a Jewish province in France. The term “Angevin” or “Angevine” is the name applied to two distinct medieval dynasties which originated from Anjou. Angevin/Angevine is also associated with angels, which may explain why this bloodline had more than just a passing interest in the writings of the Nephilim. The Angevins were a senior branch (angel + vine) of the Merovingian bloodline whose members view themselves as divine descendants of the fallen angels of Genesis 6. According to the book King John 1167-1216 by W. L. Warren, the Angevins were actually of demonic extraction:
“The violent temper of the Angivins, their vicious reaction being thwarted, was almost pathological in its intensity... ‘From the Devil they came’, growled St. Bernard, ‘and to the Devil they will return.’ There were many who agreed with him. Popular gossip told of their descent from a devilish ancestress - it was a convenient explanation of their demonic energy, their ferocious ruthlessness.”
The Merovingian dynasty of kings had ruled Europe from the 5th to the 8th centuries. In 679 A.D., however, the Roman Catholic Church collaborated with the Carolingian dynasty to remove the Merovingians from power. Dagobert II was assassinated in 679 A.D. and his nephew, Childeric III, was deposed in 751 by Pepin III, the first of the Carolingian dynasty. The removal of the Merovingian dynasty culminated in the coronation of Charlemagne, who became the Holy Roman Emperor in 800. Naturally, the Merovingians sought a way to restore their dynastic bloodline to the thrones of Europe.
In his book, The Top Thirteen Illuminati Bloodlines, Fritz Springmeier has documented the Medici connection with the Merovingians (above) and set the record straight as to who was responsible for the term “Dark Ages.” It seems the term was coined by the deposed Merovingian bloodline which prided itself in being supernaturally “illumined” or “enlightened.”
“From the beginning the Prieuré de Sion has been committed to Hermetic Magic... René d' Anjou, a descendant of the Merovingians persuaded Cosimo de Medici to establish in c. 1444 a non-church library at San Marco where Plato, Pythagorean works, and books on Hermetic Magic were translated. Up until this time, the Catholic church had control of all the libraries. It was from Cosimo de Medici's library that the spark of Greek and Egyptian teachings set off what developed into the Renaissance, which was a revival of humanism and the occult. It appears that during the Middle Ages, witchcraft and the mystery religions had seriously dissolved to the point that these modes of thought had to be relearned from the ancient writings. Interestingly, the Middle Ages when witchcraft and paganism were dissolving have been branded the 'Dark Ages' by the establishment, and inaccurately painted as a time when learning went out.” (p.79)
A recent PBS documentary about this infamous family was titled “The Medici: Godfathers of the Renaissance.” Several of the Medici became popes and cardinals and a Giovanni de Medici became Pope Leo X, the pope who excommunicated Martin Luther and also bestowed on Henry VIII the title of “Defender of the Faith.” According to the PBS film, the Medici were the original Mafia, who rose to power with all the finesse of Italian mobsters:
“The Medici didn't start out as the most powerful family in Italy. Other families were just as rich, and just as ambitious. But no one knew more about getting ahead - and staying ahead - than the Medici. They clawed their way to the top, sometimes through bribery, corruption and violence. Those who stood in their way could end up humiliated - or dead... Governing Florence like a medieval mafia, the power of the Medici stretched all the way to Rome, where even the papacy was something to be bought and sold. They were the Godfathers of the Renaissance.
“The Medici created a lucrative partnership with another medieval power, the Catholic Church. In what had to be one of the most ingenious enterprises of all time, the Medici bank collected 10% of your earnings for the Church. If you couldn't pay, you faced excommunication - a one-way ticket to hell. The Pope himself had a massive overdraft, and the Medici bank became the most profitable business in Europe. By 1434, half the bank's revenue came from the 'Rome branch', which was in fact little more than a mobile bank that followed the Pope around the world. Papal connections gave the Medici bank immense power, soon everyone wanted an account with the Pope's personal bank. On one occasion the nomination of a new bishop was 'delayed', until his father - a Cardinal - had repaid their debts to the Medici bank. And the Medici kept ahead of their banking rivals because of the invention of limited liability. Giovanni di Bicci had set up a franchise system, where regional branch managers shared a stake in the business. Giovanni also banned loans to princes and kings, who were notoriously bad investments. Consequentially, the Medici business remained in the black while its competitors lost fortunes.” (The Medici)
“Giovanni di Bicci (1360-1429, Bicci came from the nickname given to his father Averardo) was the founder of the family fortunes; by the early 15th century he had already accumulated a huge fortune thanks to his warehouses and banking interests as well as to his contract as rent collector for the City Council... Two sons were born of his marriage with Piccarda Bueri: Cosimo (1389-1464) and Lorenzo (1395-1440), both of them called 'the Elder', from whom the two branches of the family originate.
“With varying fortunes, the direct descendants of Cosimo were to be Lords of Florence until 1537: these were Piero the Gouty (1416-1469), who married Lucrezia Tornabuoni, Lorenzo the Magnificent (1449-1492), whose wife was Clarice Orsini, Piero the Unfortunate (1471-1503)..., who was married to Alfonsina Orsini and Lorenzo Duke of Urbino (1492-1519), married to Maddalena de la Tour d'Auvergne of the royal house of Bourbon. The last legitimate descendant of this branch was Caterina (1519-1589), later Queen of France, but Florence instead found itself ruled over by Alessandro the Moor (1510-1537), the first Duke of Florence and bastard son of Giulio dei Medici (1477 c.-1534), who became Pope Clement VII and who was, in his turn, the bastard son of Giuliano dei Medici (1453-1478), Lorenzo the Magnificent's much loved brother, who was killed in the Pazzi plot. Giovanni, Lorenzo the Magnificent's second son, was to become famous as Pope Leo X (1475-1478): he protected artists and writers at the papal court but also had to deal with Luther's Reformation. Meanwhile the descendants of Lorenzo de Medici the Elder lived in the shadow of the senior branch and, at times, also took advantage of the disadventures of the more powerful family or did what they could to cause trouble, as was typical among the rebellious elements to be found in most reigning houses. Lorenzo the Elder and Ginevra Cavalcanti produced Pier Francesco, also called the Elder (1430-1476), who married Laudomia Acciaiuoli; he fathered Lorenzo (1463-1503), lord of Piombino, and Giovanni (1467-1498); at this point the cadet branch split up again into two new branches and this was to be of some importance a few decades later. Both brothers left off calling themselves Medici and rebaptized themselves 'Popolani' in 1494, right at the time that Piero the Unfortunate was thrown out of Florence, an event that was partly the result of their plotting...“Lorenzo the Popolano was the father of Pier Francesco the Younger (1487-1525), who married Maria Soderini and in his turn fathered Lorenzino (1514-1547), who was to murder Duke Alessandro in the name of apparent Republican ideals, thus cancelling out the branch of Cosimo the Elder and earning the name of Lorenzaccio (or wicked Lorenzo). Military leader Giovanni dalle Bande Nere (1498-1526), was...the son of Giovanni the Popolano and Caterina Riario Sforza and father, in his turn, of Cosimo I, the founder of the dynasty of the Medici Grand Dukes, who were to rule over Tuscany until 1737. By a strange coincidence, Cosimo reunited the two branches of the family: Maria Salviati, his mother, was in fact a Medici through her mother and the blood of Lorenzo the Magnificent ran in her veins. In spite of this, however, Cosimo did not feel really sure of his throne until his hired assassins had murdered his second cousin Lorenzaccio, who would in fact have been, by right of primogenitureship, the legitimate heir to the title of Duke. (The Medici)
Abbreviated Genealogy of the Medici family:Giovanni di Bicci de' Medici (1360-1464) +-Cosimo de' Medici (the Elder) (1389-1464)(the Elder), founder of the Medici political dynasty | +-Piero I de' Medici (the Gouty) (1416-1469), Lord of Florence | | +-Giuliano de' Medici (1453-1478) | | | +-Giulio de' Medici (1478-1534), would become Pope Clement VII | | +-Lorenzo de' Medici (the Magnificent, 1449-1492), leader of Florence during the Renaissance | | +-Lucrezia de' Medici (1470-1550) | | | +-Maria Salviati (1499-1543), wife of Giovanni dalle bande nere (see below) | | | +-Francesca Salviati | | | +- Alessandro de' Medici (1535-1605), Pope Leo XI | | +-Piero II de' Medici (the Unfortunate) (1472-1503), Lord of Florence | | | +-Lorenzo II de' Medici (1492-1519), Duke of Urbino | | | +-Catherine de' Medici (1519-1589), wife of Henry II of France | | +-Giovanni de' Medici (1475-1521), (1475-1523), would become Pope Leo X | | +-Giuliano de' Medici (1479-1516), Duke of Nemours | +-Giovanni de' Medici (1421-1483) +-Lorenzo de' Medici (the Elder) (1395-1464) +-Pierfrancesco de' Medici (the Elder) (1430-1476) +-Giovanni the Popolano (1467-1498) +-Giovanni dalle Bande Nere (1498-1526) +-Cosimo I de' Medici (1519-1574), first Grand Duke of Tuscany, restored the Medici lustre +-Francesco I de' Medici (1541-1587), Grand duke of Tuscany +-Maria de' Medici (1573-1642), wife of Henry IV of France +-Giovanno de' Medici (1543-1562), bishop of Pisa and cardinal...
SABRINA IMPACCIATORE* (SERAPHIA)
Sabrina Impacciatore plays Seraphia, the woman who offers “Christ” a cloth to wipe his face. Sabrina appears to be another porn star whose nude photos are advertised at "just-naked-celeb-movies"**. As Ornella Giusto played a supporting role to porn star Monica Bellucci in “Malena”, Ms. Impacciatore played a supporting role to porn star Claudia Gerini in “Al cuore si comanda” (2003). Of all Impacciatore's movie roles, however, the movie which got far and away the most reviews on the internet was “The Last Kiss” (2001), “a multicharacter soap opera often played at a fever pitch” according to Bob Strauss of the Los Angeles Daily News. To illustrate, Strauss tells us “recent father Adriano (Giorgio Pasotti) can't stop fighting with his demonic wife, Livia (Sabrina Impacciatore). Dreadlocked Alberto (Marco Cocci) beds a different woman every night." (Dennis Palmu)
TONI BERTORELLI (ANNAS)
Toni Bertorelli (Annas) played the lead role of Dracula in Zora the Vampire (2000). Of interest, Monica Bellucci (Mary Magdalene) played the topless bride of Dracula in Dracula and Maia Morgenstern (Jesus' mother) also played a bride of Dracula in Dark Prince: The True Story of Dracula. Considering that Gibson's "Jesus" gives the "evil eye" on The Passion website, one must consider the possibility that another sacrifice involving the shedding of blood on the part of the innocent is being portrayed!
Here is an excerpt from a review of Zora the Vampire: "Arriving in Italy by raft, Dracula (Tony Bertorelli) and his faithful servant (Lele Vannoli) find their currency worthless and have to adapt to life in a slum. While stalked by a police hit squad led by super-cool cop (producer Carlo Verdone), Dracula falls for ballsy Zora (Micaela Ramazzotti), a pretty spray-painter not averse to becoming his bride."
Bertorelli, like Bellucci, is not a one-dimensional actor. He also does not have a problem with appearing in movies depicting sex and violence. For example, in Eljs & Merilijn (Elvis & Marilyn) (1997) the synopsis reads in part, "During the trip, Ileana is sexually assaulted and Nicolaj is beaten up. They make it to Italy, but then the show is disastrous. But they do get a second chance at stardom--when they are offered parts in a porn show with some other lookalikes." (Dennis Palmu)
See Addendum: Mainstreaming Vampirism
LUCA LIONELLO (JUDAS)
Lionello, who plays Judas in The Passion of the Christ, is obviously not averse to portraying "passions" of another sort. He had the "starring" role in Il Delitto di via Monti Parioli (1997), an erotic thriller. The picture on the video jacket says it all. (Dennis Palmu)
JARRETH MERZ (SIMON THE CYRENE)
Through his portrayal of Simon the Cyrene, Merz is one of the few characters in most critical reviews of Gibson's movie who receives favourable treatment. When one considers his appearances in the moral wasteland of certain movies, is this the person who should be cast in the role of helping Jesus, and thus receiving this favourable treatment? Consider these two movies.
Chill Out (1997) is a German made-for-TV movie with a straight-gay-bisexual love triangle. The plot is described in one synopsis as "Max sleeps with Anna, Max sleeps with Johann..." Eliana M of Santiago, Chile comments in her review: "This run of the mill German TV movie is directed by the charming Andreas Struck, who recently came to visit us down South American Way (along with fellow gay film maker Wieland Speck, the latter honored with his own Retrospective.) Andreas came to premier his TV movie as a feature film at the heavily German-oriented Mix Brazil 200, the 8th Annual Film Festival of Sexual Diversity...The organizers may as well have added the qualifier, 'and showcase of the German gay film'...". The pictures at Wuerzburg Gay Web speak louder than words.
A second movie, Curiosity & the Cat (1999), is classified by the Internet Movie Database in the "Crime/Horror/Thriller" Genre. The plot outline reads as follows: "Writer gets curious about the violent and sado-masochistic ongoings in his neighbour's apartments." Merz also starred as Case, a "cyber cowboy" in Neuromancer (Neuro one cerium) (2003), the four-part science fiction radio play authored by William Gibson. Gibson (no relation to Mel) "is considered as a cult author of the Sci Fi scene" and inventor of the term "Cyberspace", and creator of the "Cyberpunk" (Jarreth Merz' character in this radio play). (Dennis Palmu)
GIACINTO FERRO (JOSEPH OF ARIMATHEA)
Giacinto Ferro, like Jarreth Merz (Simon of Cyrene), is a bit of an enigma. The fact that both have appeared in little-known movies with a homosexual theme may explain why. Also like Merz, Ferro is one of the few actors in The Passion who is given a "free pass", or endorsement, by critical reviewers. In addition, like Merz, Ferro is cast as one of the few men who help "Jesus". I find this interesting.
The homosexual-themed movie in question with respect to Ferro's appearance is Cattolica (2003), which apparently was a German/Swiss production. A brief plot summary from Cinema Royal in Basel, Switzerland reads thusly: "(At) a first meeting in (a) bar Stefan believes Martin is a married man (searching) for (a) sexual alternati(ve)... But (during) this night Martin reveals a family secret", which (leads to a permanent) change in Stefan's life. The next morning they go on a journey to Italy, after Cattolica, a journey where their unfamiliarity leads to discovery that they are brothers. (Note that I had to depend on an internet "word for word" translation, then had to change the word order and structure, and some words, to give sense and meaning.)
A second review in English (see) reads as follows: "One evening, Stefan spots a stranger sitting at the bar, a man who is carefully checking him out. Martin appears quiet and cool and he is wearing a wedding band. Stefan smiles. He assumes that a married man is looking for a little variety and invites Martin back to his place." Even though they discover that night that they are brothers, there is no getting around the homosexual theme introduced by the writer and director, Rudolph Jula.
We are told in this review that "Rudolph Jula was born in 1965 to an Italian father and Swiss mother. After graduating from school, he was a trainee director at both the Zurich Theater and the Zurich Opera House. In 1988, he visited London, where he wrote Conquest, a collection of narratives. Between 1989 and 1992, he lived in Rome and worked on his novel Giulios Schlaf (Guilio's Sleep), which was published in 1997. Between 1993 and 1998, he studied Directing and Script Writing at the German Film & Television Academy in Berlin. He graduated with the short film Three Wishes (Drei Wuensche, 1999), for which he received the German Short film Award." Other short films and a feature length film (Cattolica, 2003) followed. The short (15 minutes) film Three Wishes, like Jula's feature film Cattolica, has a homosexual theme (this one overt), and is featured on gay websites. Three Wishes also was entered at the Twelfth Annual "International Festival of Film with Thematic Homosexuals From Sodom to Hollywood" in 2000 in Turin, Italy (see Translated Version of The Turin International Gay & Lesbian Festival).
A second movie in which Giacinto Ferro appeared was CVMC: Mario und der Zauberer (a.k.a. Mario and The Magician) (1995), starring Klaus Maria Brandauer. We are told that "this movie is in German with no English subtitles or dubbing". There is also a warning: "Rated NR: adult themes; sexual themes; violence; moderate nudity." A third movie Ferro appeared in was La Scorta (1994), "a taut political thriller pulled from the headlines in modern-day Sicily". I find it somewhat puzzling that, even though it comes with a warning about its "violence, nudity, sexual situations and profanity", it is rated "acceptable for children"! (Dennis Palmu)
MATTIA SBRAGIA (CAIAPHAS)
Mattia Sbragia played a major role as the "Apathetic Bishop" in The Order (a.k.a. The Sin Eater). Rated R for violent images, sexuality and language, The Order is about "an arcane Catholic order known as Carolingians" They encounter a bizarre underworld in their hunt (for)...The Sin Eater, an immortal being who absolves the sins of others before they die." The lead characters, Alex and Mara, "are faced with many demons, both supernatural and their own.. A cross is used to fight away evil spirits". (See Dracula comment in Toni Bertorelli profile and the Vampire Addendum.) Note Rosalinda Celentano's role as the "Faraway Eyes Girl" in this movie and as Satan in The Passion of the Christ. (Dennis Palmu)
This film appears to be one more propaganda piece in the media campaign against the Roman Catholic Church which will eventuate in the downfall of the Great Whore/Mystery Babylon. (Rev. 17-18) According to one review, "The story goes that in the early church, when excommunications were passed out like communion, a rogue priest began an ancient practice of absolution in which the sins of the dying party could be consumed by the Sin Eater, who would then absorb all their transgressions, memories, and knowledge in exchange for absolution... There were a few problems with this, however. Yes, in the old days people could die outside the protection of the church and never be given absolution. These days excommunication is very rare, though not unheard of, and often temporary. Excommunicatos can be absolved. The first individual we witness receiving this rite, in fact, would be very unlikely to have been excommunicated at all... Someday Hollywood is going to learn to do research."
What the average viewer doesn't know is the hidden agenda behind most of the current anti-Catholic propaganda. The secret Carolingian Order is an atavism of the medieval Carolingian dynasty which, in collusion with the Roman Catholic Church, deposed the Merovingian dynasty. In 679 A.D., the Roman Catholic Church collaborated with the Carolingian dynasty to assassinate the Merovingian King, Dagobert II. Dagobert's nephew, Childeric III, was deposed in 751 by Pepin III, the first of the Carolingian dynasty. The removal of the Merovingian kings culminated with the coronation of Charlemagne, who became the Holy Roman Emperor in 800.
HRISTO NAUMOV SHOPOV (PONTIUS PILATE)
Hristo Shopov has appeared in four movies set during World War II, plus Alien Hunter (2002) and Dragon Fighter (2001). He starred with Irini Zhambona in Margarit i Margarita, a movie about "a pair of rebellious teenage lovers (who) drop out of school and begin a life in the fast lane together". (Dennis Palmu)
DARIO D'AMBROSI (ROMAN SOLDIER)
Of all the actors and actresses in The Passion, Dario D'Ambrosi, who plays a Roman Soldier, is quite possibly the most interesting. He is certainly unique. Here are some excerpts from the Pathological Theater Festival at la MaMa.
"D'Ambrosi is a former professional soccer player... (he played four years for the Milan team)... and recipient of a lifetime achievement award from the Instituto del Drama Italiano (equivalent of a Tony Award in his country). D'Ambrosi, survivor of a rough, difficult boyhood in working-class Naples, began working with young (and less young) mental patients, seeking to find out what the violence of some of his buddies—the paranoia and schizophrenia of the streets—was all about." D'Ambrosi, who was 20 years old at the time, decided to live at Rome's Santa Maria de la Pieta psychiatric clinic for several months, and later spent further 'study hours' in Bronx State and Bellvue's mental wards. He then established the Teatro al Parco in Rome in a children's psychiatric hospital, and in 1979, formed what is now called Teato Patalogico (Pathologic Theater).
If we fast forward to December 29, 1999 - January 16, 2000 we find "Dario D'Ambrosi's Pathologic Theater Festival", a "serial retrospective" of "his most singular plays", taking place at La MaMa (Theater). Here is a synopsis of some of D'Ambrosi's work at this festival which, by the way, was highly acclaimed by many critics.
Cafe La MaMa features D'Ambrosi's character "who is more than just an inmate"; he is described as a "lunatic nurse, a warder who works there during the day but is unable to leave at night and plays compulsive soccer games in the dark around the hospital grounds". (Perhaps this play would have been better named "The inmates 'run' the asylum... with a soccer ball".)
"Frustration (Frustra-Azioni) is based on a true story from 1920 and depicts the obsessed schizophrenic personality of a butcher who imagines himself a male cow, wears a minotaur mask, and pursues offbeat bovine erotic fantasies." D'Ambrosi (who played the 'cow'), was credited by Ben Brantley of the New York Times with "a lyrical, lubricious and startlingly empathetic monologue" that "ushers his audience into a world of dementia that allows little room for detachment." "Theater Week (Rosette Lamont) opined, 'D'Ambrosi's sketch is a paean to the beauty of being alive, even when, as the animals, we wait patiently for our end." (I think I just found a companion for the nurse with the soccer ball.)
"Volare (to fly) is a film by Dario D'Ambrosi depicting the experience of a man discovering after death that he is an angel. An individual who at first fancied himself the only survivor of a plane crash first savors the joy of being alive, then encounters a strange person who is difficult to understand, and whom he makes love to." (Nothing unusual here...what else would one do after meeting a perfect stranger subsequent to surviving a plane crash?!)
"Prince of Madness is a story of a crippled man selling human beings. The people he sells live on the borders of society, lonely and desperate"...an old ballerina named Mrs. Maria, an old juggler named Benito and a transvestite named Vanessa...who turn out to be his mother, father and brother! (I think Mr. D'Ambrosi spent a few too many "study hours" in Santa Maria de la Pieta, Bronx State and Bellvue.)
Finally, two more of D'Ambrosi's plays were not performed at the above festival in 1999-2000 but appeared at La MaMa in 1997 and 1996 respectively. In La Trota (The Trout), an old man, trapped by his fetishist acts, turns the trout he has purchased for dinner into a love symbol and the object of an inevitably doomed passion for life. In Un rengo per il mio cavallo (My Kingdom for a Horse), D'Ambrosi "portrayed Shakespeare's villain as a schizophrenic fetus trapped in internal dialogue with his unloving mother."
Lest the reader misunderstand my intentions (I am not mocking those in asylums, just what some who call themselves playwrights do in the name of artistic license), I will close this character profile with the following words from New York Times theater critic D.J.R. Bruckner: "Any piece by D'Ambrosi is about each member of the audience. A viewer who surrenders disbelief for a moment will be carried away in an unimaginable world of chaos, wit, bewilderment, mirth, anger, disgust and a kind of sweet sadness, and will leave it with a sense of relief and loss. The humor is macabre, the dialogue and action explosively funny, and the story labyrinthine and cruel." (Dennis Palmu)
The Passion of the Christ belongs in the Pathological Theater, where insanity passes for an art form. Mel Gibson has abridged the magnificent gospel accounts of the life and ministry of Jesus Christ to a "labyrinthine and cruel story" of His ignominious death. Gibson's skilled use of mind-altering horror effects seems partly calculated to desensitize his audience and accustom them to visual displays of murder and mayhem. All of the filmography in the Pathological Theater genre seems to be preparing mankind for the strong delusion that they will survive the upcoming "unimaginable world of chaos" (Tribulation Period), out of which will emerge a new world order.
Lucio Allocca, who plays the Second Temple Guard in The Passion of the Christ, has a number of similarities to Valerio Isidori, who plays one of Herod's Courtiers. Whereas Isidori has 17 film or TV roles spanning the last 24 years to his credit, Allocca has 19 film or TV roles spanning the last 25 years to his credit. Also, like Isidori, he has for the most part cleaned up his act for the last number of years, and like Isidori, there is "baggage" from the past. This baggage takes the form of one large "skeleton", rather than the three smaller ones in Isidori's closet. It is interesting, to say say the least, that similar to Monica Bellucci's shocking, never-before-witnessed porno show (Irreversible) at the 2002 Cannes Film Festival, Lucio Allocca was a "star" in an equally disgusting movie (Immaculate and Concetta, a.k.a. Two Women in Love) at the 1980 Cannes Film Festival! This film broke new ground, being (according to Verzaubert Interntional Queer Festival**) "the first Italian film to deal with lesbian love in a graphic non-exploitive way".This website shows an extremely graphic (non-exploitive?) bedroom scene from this movie. Also, like Irreversible, Two Women in Love (its more common title), was criticized by many patrons of the Cannes Film Festival, yet acclaimed by many critics. As a matter of fact, it won "the Silver Leopard RK at the Locarno Festival in 1979 and the Critic's Award in Cannes 1980", where it was "judged as a masterpiece". Lucio Allocca plays the leading role as the "husband" of Immacolata (Immaculate), as the two perverted ex-cons Immaculate and Concetta "continue their relationship against all odds on the outside". This "award winning" movie was "featured" alongside others such as From Zero To Ten (Rimini in the summer, Italy's sun and sex capital: Eight friends-gay, lesbian, bi and straight-leave their everyday life behind for three crazy days...) and Gasolines (Stuck at a lonely gasoline station, the girls Lennie and Star are enjoying their young love...) at the 2002 Verzaubert International Queer Festival. (Dennis Palmu)
GABRIELLA BARBUTI* (HEROD'S COURT WOMAN)
Gabriella Barbuti, who plays one of Herod’s court women, is another one of Mel Gibson's harem of porn stars. As the list of porn stars in “The Passion” now stands at four, the thought came to mind of Gibson’s words in one of the many interviews he gladly gave to promote his “passion play”. When asked about his views on salvation, his words were to the effect that salvation is not possible outside of the Church (meaning, of course, the Roman Catholic “Mother” Church). This was followed up by a question regarding whether his wife, an Episcopalian, would therefore be condemned. His answer was “yes”. I wonder what Mel’s wife and six children would have to say about Mel's pontificating if they knew of his “hall of porn” over in Italy? I'm sure the 100 million dollars he will pocket (not bad for a year's work) from this movie travesty will go a long way to assuage any doubts they may have about his integrity!
Ms. Barbuti has appeared in a number of movie and television roles since her first appearance in 1990. One of her main “claims to fame” comes from an appearance in “Fermo posta Tinto Brass” (1995), with the tagline: “a sensational collection of real-life sexual fantasies from the Master of Erotica.” One doesn't need a plot summary to know what this film is all about! The FilmNudes.net** website informs us that Gabriella Barbuti has appeared nude or semi-nude in this film plus (as Claudia) in “Delitti a Luce Rossa” (1996). Dozens and dozens of websites such as FemaleStars.com** and FemaleCelebrities.com** beckon the voyeur to see “naked photos of Gabriella Barbuti”. (Dennis Palmu)
ORNELLA GIUSTO (HEROD’S COURT WOMAN)
Giusto, a.k.a. “Just Ornella”, also plays one of Herod's court women in “The Passion”. The theme of sex, though, is not far from the surface of Mel's “Passion”, as we find that Giusto played the “2nd prostitute” in “Malena”, the movie which brought Monica Bellucci to the attention of North American audiences. Although Ms. Giusto has a provocative photo gallery on a few websites, it appears that there are no nude or semi-nude photos of her on the internet, although two pornographic sites advertise her name, likely as a lure to get her fans into them. (Dennis Palmu)
FABIO SARTOR (ABENADER)
Fabio Sartor, as with many of the actors and actresses in The Passion, is no stranger to movies with sex, horror and violence. He plays a lead role in The Lady of the Night (1986). The video jacket says it all!
In Phantom of Death, Sartor has a role in a movie where "a concert pianist with a rare disease that rapidly ages him, starts killing people at random." The Genre is listed as "horror". Sartor also appears in the movie Chimera, where the synopsis reads: "In bed with his lover Desire, Tomas begins to tell her the story of another couple: Emma and Sal. Feeling the passion had left their relationship, Emma and Sal took to role-playing various scenarios, hoping this would enliven their love life." Is this the type of "passion" and "role-playing" that qualifies one for appearing in The Passion of the Christ? It seems so! (Dennis Palmu)
MATT PATRESI (JANUS)
Matt Patresi has a starring role in The Uninvited as one of his acting credits. The introduction reads as follows: "A Norfolk village, Sweethope, slides into the sea - but miraculously, there is no loss of life. One of the villagers, Phillip Gates (Grantham) becomes a Chief Superintendent and is put in charge of several cases where prominent individuals are killed but are then resurrected...whatever was behind these happenings, was not human." Is this the "resurrection" experience, perhaps, that the casting director saw as qualifying Patresi for The Passion of the Christ? Patresi, along with Rosalinda Celentano, played a minor role in the movie The Order (a.k.a. The Sin Eater) (2003). (Dennis Palmu)
ROBERTO VISCONTI (SCORNFUL ROMAN)
Roberto Visconti is a musician who also had a minor role in The King's Whore. Interestingly, a Roberto Visconti is listed on the Public Information Research Database as a member of the P2 lodge. (Dennis Palmu)
LUCIA STARA (HEROD’S COURT WOMAN)
Ms. Stara has an appearance in “The Stendhal Syndrome” (1990) to her “credit”. We are told on the TV Guide Movie Database by reviewer Maitland McDonagh that this is “a morbid thriller by Italian horror icon Dario Argento” (see Davide Marotta profile). We are also told that “this is a must-see for Argento completists, driven by a brave and disturbing performance by the director's daughter, Asia (Argento), as a police detective tormented by a serial sex killer...Though it takes a serious wrong turn around the time Anna buys a blond, femme-fatale wig, this psychological horror picture is harrowing and occasionally macabre - you'll come away wondering what kind of father would cast his daughter in such a sexually brutal film”. I would also add, and what kind of actress would be willing to perform in such a sexually brutal film? (Dennis Palmu)
ROSSELLA LONGO (WOMAN)
Rossella Longo, one of the women along “Christ’s” journey to Golgotha, is pictured here accepting an award last year for her erotic poetry. A collection of these poems can be viewed on her website. (Dennis Palmu)
PACO RECONTI (WHIPPING GUARD)
Paco Reconti appears as the Whipping Guard in The Passion, an appropriate role considering his film credits in movies such as Francesco and The Godfather Part 3. Francesco features Mickey Rourke, of all people, as St. Francis of Assisi, whom St. Bonaventure described as an "epiphany of God" and "near-perfect exemplar of humanity". This is the equivalent of casting Anton La Vey as Santa Claus. The TV Guide review of Francesco is not very flattering of Rourke's performance, or of the film itself -- in this piece of Roman Catholic history, a movie with "nudity, graphic violence, adult situations". We are told that "[Director Liliana] Cavini's film is replete with anachronisms and historical inaccuracies" (much like Gibson's The Passion of the Christ), "not the least of which is her wrongheaded interpretation of the famous Stigmata vision" (like Gibson's wrongheaded interpretation of Christ's crucifixion). True to form for Rourke, we find him, as Francesco, "having psychotic episodes--undressing in public, hugging crucifixes, rolling naked in the snow"...in short, the Mickey Rourke his fans have come to know and love! Again and again, nudity/pornography and violence/horror, either in real life or in past performances, are found in the dossiers of the actors and actresses (in this case Paco Reconti) of Mel Gibson's "Passion". (Dennis Palmu)
TED RUSOFF (ELDER)
Ted Rusoff, an elder in The Passion, has, since 1980, appeared in many movies with extreme violence, brutality, horror and sex. In Eternal (2004), currently in post-production, we find the following plot summary by Jason Whiting: . "Detective Raymond Pope is a detective of questionable morals, searching for his missing wife." In "the wealthy estate of the enigmatic Elizabeth Kane", her young maid Irina "believes that her mistress is a supernatural being, perhaps the real-life 16th Century Blood Countess Elizabeth Bathory, who bathed in the blood of over 650 women in a misguided quest for eternal life... Pope's obsession grows so intense that he completely fails to anticipate Elizabeth's reaction to his intrusion into her dark world, a fatal mistake..." Rusoff also appeared in the made-for-TV horror movie Nightworld: Lost Souls (1998). A typical viewer comments that "right from the start, this is a gripping horror. Some of the scenes reminded me of Poltergeist." Rusoff also appeared in director Tinto Brass' movie L' Uomo che guarda (1993). Gabriella Barbuti, the porn star who plays one of Herod's Court Women in Mel's Passion, likewise appeared in a movie directed and written by Tinto Brass, the "Master of Erotica". Stefan Kahrs of Canterbury, England tells us that L' Uomo che guard "combines eroticism with an explicitness that is close to hardcore porn". We find Ted Rusoff in yet another horror movie titled The Eighteenth Angel (1998). The tagline is: "the crow flies, the clock strikes and the devil is due". This movie is "rated R for horror, violence and gore". Jeff Boles of Norman, Oklahoma entices the prospective moviegoer with the words "If you're looking for an Occult Lucifer-rising sort of film, this is a definite must-see." Rusoff appears in yet another movie of the horror genre called Catacombs (1988) with the tagline "Dare you enter the labyrinth?" The plot line begins with "A demon is trapped in a monestary". Jake, from Springfield Missouri, describes the demon of the catacombs as an "albino demon". See Davide Marotta (Albino Manchild). The list for Mr. Rusoff continues, but we'll end with Rosso sangue (1982), a horror movie where the "priest comes to small town to help get rid of a monster whose blood coagulates very fast". This film is so sick that it was banned in West Germany. (Dennis Palmu)
ROBERTO SANTI (ELDER)
Roberto Santi has also had bit parts in 25 other movies, starting in 1959 with The Facts of Murder. As with so many of Mel's Passion "family", Santi is no stranger to movies with horror and sex. Let's briefly look at four of these movies. A TV Guide movie review of Santo's third film titled Atom Age Vampire (1961), reads as follows: "This typically bizarre Italian horror offering...(has) a berserk professor who falls in love with (a) torch singer. When she is horribly disfigured in a car accident, he restores her marred face by injecting her with serum from the glands of the dead, causing her to turn into a vampire." (This reminds me of the multi-billion dollar world-wide market today for the body parts and fluids of aborted fetuses! Much has been written about this "industry" that no one, especially abortionists, likes to talk about.) Listen, Let's Make Love (1968) had the following commentary in the TV Guide: "This distasteful drama stars Clementi (who) decides to follow in his recently departed father's footsteps (a gigolo). After passing through the lives of many older women, Clementi becomes the object of a bidding war between a rich steel heiress and an aging, wealthy homosexual... Later, Clementi falls for the beautiful Malle, only to learn that she is his half-sister."
In the TV Guide review of Post Coitum, Animal Triste (1997) we are told that "it's rare to see so much naked suffering in a romantic comedy, even one that gradually slips into the dark waters of sexual obsession." In the TV Guide review of Between Your Legs (1999), we are told that this "erotic thriller" brings together "a group of sexual compulsives" in a sex therapy group. Needless to say, there is a lot more sex than therapy. The plot, if one can call it that, involves Javier, "(who) has other problems. He learns that tapes of his phone sex sessions have been circulating among members of Madrid's underground, making him an unwitting audio porn star." (Dennis Palmu)
FRANCO COSTANZO (ACCUSER)
Franco Costanzo appears in The Passion as one of the Accusers of the Christ. Like Roberto Santi, he is a bit player who has appeared in 7 other movies, starting in 1977. His second film appearance was in Zeder (1983), a horror movie which has the following TV Guide review: "This film makes absolutely no sense but is suffused with a disturbing sense of dread...With the help of a young psychic, Gabriella, they search the basement until she collapses in a fit on the floor. Moments later, she's been mauled by some unseen something." This R-rated movie also contains "experiments in bringing the dead back to life."
Costanzo, we are told, also appeared in The Virgin Suicides (2000), where "first-time writer/director Sofia Coppola doesn't quite nail the leering, voyeuristic quality that made Jeffrey Eugenides's novel such an unsettling experience, but she's nonetheless transformed the material into something intriguingly eerie: a morbid teen movie for melancholy adults...The nightmare begins with the inexplicable suicide of the youngest Lisbon, is followed by the girls' house arrest by their desperate parents - prompted in large part by the aggressive sexuality of Lux...(The Virgin Suicides) offers a frightening vision of domestic hell..." Costanzo also appeared in The Order. [See Mattia Sbragia] (Dennis Palmu)
ANDREA COPPOLA (GRIZZLED BEARD)
Andrea Coppola likewise is no stranger to the sex and horror genre. In Stefan Kahrs' review of Sogni erotici di Cleopatra (The Erotic Dreams of Cleopatra)(1985), we are told that "this is the kind of period sex comedy that could have only been made in the early 1980's in Italy, simply because it has more sex than comedy...In the 1990's, the genre would further 'progress' towards hardcore". Coppola also appeared in Schiave bianche: violenza in Amazzonia (1986). One review informs us that "this is unrated, but contains strong physical violence, gun violence, sexual violence, very strong gore, mild profanity, strong female nudity, male nudity, some sexual content, and sexual references". The reviewer also states, "this is pure unadulterated exploitation...the blood flows freely and the clothes drop often... We are treated to not one but four on camera beheadings. The leading actress is topless for the last three-quarters of the film. There is rape..." The reader will get the idea by now. (Dennis Palmu)
EMANUELE GULLOTTO (ACCUSER), had a role, along with Monica Bellucci, Ornella Giusto, and Luciano Federico in Malena.
LUCIANO FEDERICO (MAN IN AUDIENCE) played a
part, along with Monica Bellucci,
Ornella Giusto and Emanuele Gullotto in Malena.
LINO SALEMME (ACCUSER) appeared in Demons 2, alongside the
infamous Davide Marotta.
FEDERICO PACIFICI (ELDER) appeared with Ted Rusoff
in the horror movie The Eighteenth Angel.
ROMUALD ANDRZEJ KLOS (ROMAN SOLDIER) appeared with
Paco Reconti in Francesco.
VALERIO ISIDORI (HEROD'S COURTIER)
Valerio Isidori appears as one of Herod's Courtiers, and we find him credited with 17 film or TV roles spanning the last 24 years. Although he seems to have cleaned up his act (for the most part) since 1990, there are three skeletons in the closet, so to speak, that won't go away. The first one is Bl-w J-b (1980), a movie totally concerned with nudity, sex and pornography, in which he appeared with a number of porn stars. The second one is Ricchi, ricchissimi, praticamente in mutande (a.k.a. Don't Play With Tigers)(1982). This movie actually has a plot, such as it is. Chip Douglas from The Hague, Holland gives us this three-part summary: "First up in court is Renato (Pippo Franco), who in order to enjoy the cheapest holiday possible, builds his own beach house. The trouble starts when a small group of nudists begin to terrorize his family... In the second hearing, Mario Zamboni (Lino Banfi) tells how he was smitten by a German woman in a hotel....[And they] go to great lengths to have a secret rendezvous without arousing the suspicion of his wife and daughter. The customary running around in hotel hallways with trousers around people's ankles ensue... The final court hearing centers around Berto Del Pra (Renato Pozzetto), who is trying to get a wealthy sheik to invest in his shipyard. But the sheik takes a liking to Berto's wife Franscesca (Edwige Fenech) and wants to have her thrown into the bargain." The third "skeleton in the closet" is Una Donna dietro la porta (Woman behind the Door)(1982), in which, like the first movie noted above, Isidori appeared with a number of porn stars. This can be verified by simply clicking on the various women in the cast, and looking at other movies they have appeared in. Many of these movie titles are explicit, and leave no doubt as to what they are all about. Although Isidori appeared in Shakespeare's A Midsummer Night's Dream (1999), most of these remakes are closer to an Oscar Wilde "interpretation", which is basically a thinly-veiled homo-erotic fantasy. (Dennis Palmu)
DANILO MARIA VALLI (HEROD'S COURTIER)
Like Isidori, we find Danilo Maria Valli in an R rated "sex fest", a movie co-written and directed by none other than Tinto Brass, the "Master of Erotica". See Gabriella Barbuti and Ted Rusoff profiles. Here is an excerpt from Stefan Kahrs' summary: This is a "sex drama in typical Brass style. For the uninitiated, this is soft pornography of the classy kind." (Dennis Palmu)
