The start of a new year is naturally a time for speculating on what the future holds. Most commentators agree that the coming year will bring a deepening economic crisis. One Russian academic has even predicted that America will be plunged into a second civil war, and shattered into six regions. This of course, is one possible outcome of the Obama revolution, and the counter-revolution which must inevitably follow.
The astute observer will see that the revolution is already here. American society long ago succumbed to the sexual and cultural revolution. There is a moral anarchy in art and music that is truly frightening, a harbinger of the fiercer, more violent revolution to come.
The loss of human dignity and worth in the movies is the single most disturbing aspect of Hollywood. We are shown an unreal picture of human nature. There are simply no moral outcomes in the movies. Sin never kills. There is no remorse for evil deeds committed. When a person is murdered, the victim never really hurts that much; and the perpetrator suffers no pangs of conscience. Greed and lust and violence and cruelty are shown as good things. This is because Hollywood's vision of man has at its core a deep and malevolent hatred of humanity.
There was a time in America when Hollywood's image of man was wholesome and loving. Human nature was shown with edifying realism, without the bitter cynicism that characterizes the movies today. There is no better example of this than the movie "The Tale of Two Cities," directed by Jack Conway, and released in 1935. Ronald Coleman stars as the noble-hearted Sidney Carlton, but it is Isabel Jewell, a delicate young beauty from Wyoming, who provides the highpoint of the movie with an uncannily real portrayal of a terrified young woman on her way to execution.
Generations of Americans have been taught about the book on which the movie is based, but the essential message has been obscured, and deliberately so. The moral anarchy which now engulfs American society has its roots, in part, in the French Revolution. The French Revolution was the first real atheistic, red revolution, and set the pattern for all subsequent revolutions. At the height of the revolution, radicals closed down churches, renaming them Temples of Reason. Over a three-day span in Paris, more than two thousand Catholic priests were murdered by the Left. Aristocrats and landowners were executed by the tens of thousands, and the revolutionary government, having abandoned its faith in God, went on to victimize all classes of society. The truly unspeakable acts committed by the revolutionaries cannot be described here.
The movie has its core a Christian message, the resurrection of the faithful, and the sacrificial atonement which enables one to gain eternal life. All this is done against a backdrop of violent uprising and social catastrophe. The movie is a disquisition on what is truly worthwhile having in life - and that is honor, and the willingness to sacrifice oneself for one's fellow man. Sidney Carlton's life gains meaning only when he offers his life up for his friend, then comforts an innocent working girl who stands trembling on the stairs leading to the guillotine. True to Christ's word, a man only gains his life when he loses it.
Viewers agree that the movie is more thrilling than anything on the screen today. The storming of the Bastille still elicits gasps of astonishment; and the final scene between Isabel Jewell and Ronald Coleman leaves viewers stunned and speechless. It is said that true art purifies and ennobles. This the movie certainly does, but it also has the added virtue of explaining the true nature of the contest between the Left and the Right. It is indispensable viewing for anyone who wants to understand our current social and political crisis.