New Mel Gibson movie looks super: medic who gets Medal of Honor (true WWII story); Gibson’s masterpiece “Apocalypto”

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The trailer for Mel Gibson’s new war movie is here, and it looks like his big comeback

July 28, 2016

(Andrew Garfield in “Hacksaw Ridge.”Mike Rogers/Lionsgate)

Mel Gibson’s first directing effort in 10 years is coming out in November, and it looks like it’s going to be an emotionally charged war movie.


Gibson found the peak of his success in front of and behind the camera with the bloody, Oscar-winning tale “Bravehart.” His latest, “Hacksaw Ridge,” looks at the unique story of WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa but refused to kill people. His heroics would lead to him being awarded the Medal of Honor, the first ever given to a “conscientious objector.

Andrew Garfield plays Doss, and it certainly seems from this trailer that the movie and Garfield’s performance will generate talk of potential Oscars.

Watch the trailer below. The movie opens on November 4.




…Wiki on the story


The film is based on the true story about US Army medic Desmond T. Doss, a Seventh-Day Adventist conscientious objector who refused to bear arms, yet was awarded the Medal of Honorby President Harry S. Truman for single-handedly saving the lives of over 75 of his comrades while under constant enemy fire during the brutal Battle of Okinawa in World War II.


[] Hacksaw Ridge is scheduled to be released on November 4, 2016.



…..Mel Gibson’s Apocalypto


Cover of the DVD of Mel Gibson’s masterpiece “Apocalypto”





Watch it free:  (The NY Times admitted this movie might have gotten six Oscars had Gibson not fallen afoul of Hollywood Jewry.)


…..Mel Gibson’s 2006 move on the Mayans “Apocalypto”

In the January-February 2007 issue of TBR [The Barnes Review], my �article on “Psychopaths and History” (found here: triggered much discussion of which specific individuals and groups in history have literally proven to be psychopathic, i.e., those who go beyond the usual human greed, ego and prevarication and, to use traditional religious language, are “deliberately evil.”

Psychopaths, as described in the bestselling “The Sociopath Next Door” by Martha Stout, a 25-year veteran of Harvard Medical School, can deeply scar or destroy the lives of others: they lie constantly, act sadistically and maliciously and sacrifice others for their advancement and pleasure.


Why? Because they have an unlimited “will to power” to tyrannize over others, and possess neither inhibitions nor conscience nor any ability to truly love or feel compassion.

Strikingly, Stout claims our ruling class is full of these maneuvering monsters, with many at the very top, and that they enjoy clear advantages over the decent and trusting majority–that is, until again and again the wrath of God and man strikes them down. In this article, I returns with an appreciation of Mel Gibson’s December 2006 worldwide hit film, “Apocalypto”.  I claim that Gibson has consciously set out to do a film about psychopaths in power, the paralyzing fear they create in their victims, and the inner turning point between victim and patriot. Gibson has magnificently succeeded in this, I say, his greatest film masterpiece.

Barnes Review readers seem to agree with this assessment, and some of our most thoughtful correspondents have seen this movie–about Mayans in Mayan, with subtitles–between four and six times. And it turns out that there lurk in the subtitles some heretical comparisons:

For months I had three objections to seeing this film–all defanged by the film itself:

One, although a former Marine, I detest anything that sounds like a “horror film,” and a film about human sacrifice sounds appalling.

A Mayan victim hunter


In fact, the violence in this film, which does show human sacrifice and those escaping it and fighting back, is not gratuitous but at the core essence of the story, and Gibson shows only half the gruesome Mayan-Aztec reality which the Spanish terminated after 1502. It may make professional anti-racists uncomfortable, but “Apocalypto” cleaves tightly to reality in details both large and small, right down to the colors of the plant dyes used in native clothing, the jade used by different classes of women and the feather headdress of the great king.

Mel Gibson, one of 11 pure-Irish children of Irish-born Hutton Gibson and his Irish-born wife. Mel was born in the States but raised in Australia.


(Using artistic license, Gibson does blend different periods of Mayan architecture and decor, and by the time the Spanish came, as shown in the film, the jungle Mayan cities already had been mysteriously abandoned. It was actually further north, in the very similar and neighboring Aztec culture with its own human sacrifices, that the Spanish would find the same psychopathic atrocities, which caused them to eradicate the Aztec regime root and branch with the aid of oppressed local tribes.)

Two, I detest our national tendency to mindless action movies. Methinks Americans should break with their hyperactive national character by “doing” less and “thinking” more.

What Apocalyptorepresents, however, is a mindful action movie. It is done by a storyteller worthy of Homer, a director worthy of Cecil B. DeMille (Gibson’s movie has 700 extras, all in differing accurate costumes), and a deeply spiritual man (when not off the wagon; Mel in Australia used to drink two scotches in beer, which he called “liquid violence”).

“Apocalypto” transmits via entertainment a tremendous message, one that reflects the values of his father, Hutton Gibson, a courageous Holocaust revisionist, a Traditional Catholic–and an honored speaker at the 2003 conference held by this very magazine. (

Hutton Gibson with famed Australian revisionist Dr. Fredrick Toeben


Not many Hollywood “action flicks” start with a quote from historian Will Durant (1885-1981), author of the Pulitzer Prize-winning, eleven-volume The Story of Civilization:

“A great civilization is not conquered from without until it has destroyed itself from within.”

Third, I wondered how much relevance Mayan Indios in 1502 had to me, a White man in 2013, except for the possible fact that our country of America is now being flooded by illegal alien descendants of the Mayans and Aztecs. 😉

Mel leads Mayan actors across a raging river; in this scene, Mayan human-hunters are taking their pitiful victims to the temple for the hideous human sacrifice. On the left is a “spider camera” that moves along a wire as the action advances.


Actually, plenty of relevance: The entire movie delineates how a tiny psychopathic ruling class misrules, lies to, entertains with mass festivals, impoverishes and oppresses an entire nation–and how God and man ultimately thwart them.

The title “Apocalypto” comes from one of the very many utterly unique scenes in this revolutionary piece of film making. Mayan manhunters pass through an orphan girl’s smoldering shell of a village, not unlike the pulverized Ramadi or Fallujah in Iraq, or Dresden in 1945 Germany or Gaza in Palestine. They take along their captives destined for human sacrifice, neck-tied to a wooden rail, heading for their torture and death. The psychopaths prod her aside; they have no time for starving orphans; the clock is ticking for show time in the Yucatan.

She dries her little-girl tears and thanks to Gibson, from somewhere real, inside the character, come two riveting eyeballs trained on them and a voice of doom that “spooks” even the hardened enslavers. She then “reveals the end” of all that they represent; in Greek, she “apocalyptizes” the final things.

Two Mayan actors confer with Gibson


The official�Apocalypto�poster from Icon Productions (Gibson’s own film company that also did Braveheart), depicts a Mayan high priest, with an obsidian knife in hand, striding forth from his ziggurat where for years he has been sacrificing trembling humans.

Trailer (in German but irrelevant – the move is entirely in Mayan with subtitles, just as Gibson’s “Passion of the Christ” was entirely in Latin and Aramaic with subtitles)

Some reviews of the movie on Youtube underneath:


Mayan high priests harangues the crowd that priest must do human sacrifice or the gods will be angry and the sun will disappear.


In 1486, in fact, during an Aztec temple dedication before huge and roaring crowds (just 16 years before Columbus’s fourth expedition, which landed in Central America), in a four-day festivaltwenty thousand live captives, knowing in advance what was going to happen to them, consciously saw and felt their hearts, hands and feet being surgically sliced away by the glass-like but razor-sharp obsidian knives, this before their heads were cut off and flung, followed by the torsos, bouncing and flipping down the pyramid steps–naturally “as the crowd roared.”

Aztecs ripping a heart out; the Spanish under Cortez conquered Mexico so quickly because many Indio tribes sided with the Spanish to be free of the Aztecs and their horrific demonic, religion.


�Other Mayans were used as target practice for various elite weapons. Raids to small villages, as depicted in”Apocalypto” in an unforgettable 15-minute sequence, brought a never-ending supply of fright-sickened new victims.

But the Mayans also fought wars and humiliated captured foreign leaders; as Gibson relates in the fascinating “Director’s Commentary” on the DVD, they spent nine interminable years degrading, humiliating–and amputating various parts off–a captured head of state. As Gibson related, in the end the captives were just “balls of nerve endings.” It would appear that the sociopathic priests enjoyed making fools even of their own kings; the Mayan heads of state were persuaded to try accessing the gods by driving a stingray spine through their penis. (See sidebar: “Mel didn’t show half of it.”)

It reminds one of George Orwell’s description in the novel�1984�of the ultimate psychopathic regime. Big Brother’s spokesman explains with chutzpah to the captured Winston Smith: “Power is not a means, it is an end. One does not establish a dictatorship [or Mayan priestly rule] in order to safeguard a revolution [or new order]; one makes the revolution in order to establish the dictatorship.

“The object of persecution is persecution.

The object of torture is torture.

The object of power is power.”

–Part III, chapter three

Here speaks pure sociopathy from the summit of the State.

Vast swaths of forest were also cut down for fuel by the Mayan ruling class, heedless of devastation to the environment (especially of the top soil), all this to bake the clay bricks used for these ever-higher ziggurats.[However, the Mayan and Aztec cultures (and those of the Incas, Apaches, and other Amerindians) never even invented the wheel–except as a child’s toy!–despite all those round logs they cut down and rolled and despite the vast distances encountered in the Americas. Nor did they possess horses in pre-Columbian America. So everybody trudged along, carried or pushed something with human power until Spain came in 1502.

Nor did the Mayans and Aztecs, canoers, invent the sail in a hundred generations of feeling the wind blow their canoe sideways. Perhaps they were waiting for the “white gods” to return.

All film dialogue is spoken entirely in the authentic Mayan of the Yucatan peninsula in Mexico where the film was made, and all actors, including the star, Rudy Youngblood of Texas, are Amerindians from North and Central America. (As a young man awakened by horror to his destiny and abilities, Youngblood’s performance at the hands of producer-writer-director Gibson is superlative.)

It is said that in his 2004�The Passion of the Christ, the “antisemitic” (in reality “New Testament”!) remarks are left only in the Aramaic language and are not even printed in the subtitles. Interestingly, in the French subtitles to his most recent movie,�Apocalypto, even more so than in the English or Spanish subtitles, the murderous high priest makes many Talmudic-sounding statements during the human sacrifice scene.

“These are the days of our great lament,” the high priest intones to the crowds from atop his pyramid. Then he asserts to the over-awed mob (again, this is in the French subtitles translating the Mayan): “Notre peuple a �t� choisi.” That means: “Our people has been chosen.”

In the English and Spanish subtitles, this is prudently rephrased as “We are a people of destiny” (perhaps in dishonor of Franklin Roosevelt’s inaugural address: “This generation has a rendezvous with destiny.”)[footnote2: Hutton Gibson was strongly opposed to Roosevelt and his war, albeit he was wounded in 1944 in the Pacific as an Army officer.]

One recalls that when “Apocalypto” was released in December 2006, it was just four months since Gibson’s famous July 28, 2006 “antisemitic tirade.”�On Gibson’s website one sympathizer, a born-again Christian, probably expressed best why the movie-going public shrugged off Gibson’s ?anti-semitic rant? and went to see�Apocalypto:

“I’d like to see what the Jews say about�us�when�they�get drunk!”

We further learn from Gibson in the Director’s Commentary on the DVD — which he dispenses together with the film’s Iranian co-producer and co-writer, Farhad Safinia– that for authenticity they had all the actors playing Mayan rulers “wear curved nose prostheses.”

The curvy-nosed priest then continues with his harangue: “We were chosen to be the masters of time; we were chosen to walk with the gods.”

In the telling closeup, the Mayan king and high priest nervously exchange glances during the high point of the killings. We know from archeology and temple architecture–when beams of light would fall on certain points–that the Mayan priests knew exactly when eclipses would take place, but the point was to be seen as miracle workers. But will the solar eclipse yet again “do the trick” and, as darkness overshadows the great city, over-awe the trusting crowd, striking a quasi-9/11-like fear in them? Will the public believe forever that through killings their leaders protect the nation from ecliptic terror and doom?

The whole scam behind their grand pleasure in killing victims was that in this way the “peuple choisi”, the chosen people, would “save the harvests and the nation.” (Writer Margaret Huffstickler has commented: “The eclipse is like 9/11, and invading Iraq and establishing Guantanamo and Abu Ghraib is the ‘necessary’ human sacrifice.”)[footnote: On Christopher Columbus’s last expedition, in 1503-04, he was stranded for over a year on Jamaica with wrecked ships. In a scam designed to intimidate the Arawak Indians of Jamaica into feeding him and his men, he used his trusty Ephemeris from the German astronomer Regiomontanus to correctly predict the lunar eclipse of February 29, 1504. It worked; they kept feeding him.]


In the subtitle of the official “Apocalypto” DVD cover �we read the slogan: “No one can outrun their destiny.” This certainly applied to the psychopathic native ruling class of pre-Columbian Central America. At the very end of the movie, ominously, the Spanish arrive in power from their great, dark ships, with soldiers, priests and brandished crucifixes, to eventually overthrow and annihilate the murderous Mayan ruling class. How interesting for Mel Gibson to introduce for the movie’s final scene the Spain that exactly ten years before, in 1492, had not only sailed the ocean blue but expelled the Jews and fully unleashed the Inquisition on the the marranos, the secret Jews still in power in the background. (To this day, 515 years later, only one resident of Spain in two thousand is Jewish.)

Through DVD technology, we can first enjoy the artist’s cinematic work and then, merely pressing the remote control, consult him personally through his commentary as to what he was thinking, aiming at and enduring technically trying to achieve each shot and scene. We can also appreciate his use of costumes, history, authentic weapons, makeup for men and women of different classes, and see the scenes, such as the one with the burnt and limping deer, that he cut for brevity or distraction of the storytelling flow.

Truly, in the hand of the masters, the cinema is the premier art form of our time. In Apocalypto, after viewing the two-hour masterpiece, the viewer therefore should spend another profitable two hours on another day reliving each scene with this truly great artist, Mel Columcille Gibson, and his brilliant Iranian colleague Farhad Safinia, and a third hour with the “Special Features” on the DVD of Apocalypto to understand the secret ocean of detail that Gibson has channeled into this mighty current. It is what Wagner would have called a Gesamtkunstwerk, a total art form. Then–as my Barnes Review-reading friends actually did–see Apocalypto another four to six times. That is doable with a great work of art.

What stands out, finally, is what the father says in the jungle to Jaguar Paw: “Fear makes you weak, and fear makes you sick.” This is, as the Will Durant quote at its beginning shows, a movie about now, about the psychopathic regime now, and about transcending the real fears we face now. And, as the hero says after he takes the plunge over the waterfall, “This is MY forest.” See the movie.

Apocalypto Jaguar Paw defies pursuers

Gibson Mayan Film on the Cutting Edge
Viewers will recall the unforgettable scene at Eyipantia Falls (in Veracruz, Mexico) where Jaguar Paw, to escape the manhunters, hurls himself bravely over the massive cataract. Pulling himself from the water, he has “found himself” inwardly by this near-death act, and announces to the pursuing Zero Wolf and his fellow pursuers, perched high on the cataract’s edge: “This is my forest where my father hunted with me. And this is where I will hunt with my son!”
This is also where Gibson his incredible dedication to spectacular new photography. Not only is Apocalypto one of the first major movies shot with digital movie cameras, the Panavision Genesis model, and not with celluloid film, but for the waterfall scene they used the innovative “spider cam.” A cable was extended like a lip out over the fall, with the movie camera on it, and it follows the stunt man out over the edge and as he leaps hundreds of real feet downward; then, still in the same smooth and gliding shot, the cable pulls the spider-camera up and away from the falls and over toward the far shore, as depicted in the still photograph above.



…..Ancient Aryans


New video on our ancient Aryan kin settling down around the globe. It starts off with me talking to the Discovery Channel, then goes heavily into the great Viracocha and the blond founders of the civilization of Peru which the Incas took over. Then it discusses the Guanches, an advanced people but living in the Stone-Age. (They were “Stone-Age” only because there was NO METAL at all to use on their volcanic islands, and this blond nation did not want to have any contact or trade with the outside world.) The Guanches were very handsome, intelligent and heroic, and lived on the Canary Islands, perhaps escaping thither after the flooding of Atlantis, until they were enslaved or genocided as evil pagans by Catholic Spain. 🙁

Now look from the time from 6:20 to the end of this video on a discovery in Florida! Over 150 bodies of buried White people from 5,000 B.C. near Cape Canaveral, Florida!

At 6 minutes and 30 seconds into the above video clip, a scientists talks about pre-historic DNA found in North America.

On the Science Channel, Dr. Joseph Lorenz of the Coriell Institute for Medical Research conducted DNA tests on the 5,000 year old bodies that were found in the Windover Bog excavation site in Florida. As was said in this program:

Dr. Lorenz: When I sequenced larger fragments and I was looking for the sites that I know are characteristic of Native American haplogroups, I was surprised because I did not find them.

Narrator: In contrast to all previous findings, Lorenz could not confirm the Windover people were [Native (sic)] Americans. Further investigation reveals something even more remarkable.
Dr. Lorenz: I went back to the screen and I looked at the sequences again, and the first person’s DNA looked European. When I looked at the second one, it looked European. When I looked at the third, fourth, and fifth, they were slightly different from the first two, but they looked European.

….and Lorenz was unaware of the magnificent new book by Gordon Kennedy, about the Canary Island blonds (scroll down one-third here)


Recently I discovered that this marvelous little glossy, full-color book by Gordon Kennedy can be ordered here:

It is about the Guanches, a nobe, courageous, handsome, virtuous, innovative, blond, blue-eyed people who survived until the 1400s intact and still living in the Stone Age. (Why? There was literally ONLY stone on the islands, made entirely of volcano magma that had cooled. There was literally NO metal AT ALL on those islands, so it was quite impossible to enter the Bronze or Iron Ages, or create metal weapons, shields and body armor so as to defeat the invading Spanish. Also, they were isolated out in the ocean with no external enemies. This is the only reason they did not advance in the art of warfare.)

Here is a picture of one of the incredibly beautiful Canary Islands. (When I lived in Germany and Austria I found out that one of the number-one favorite tourist vacations they take is to the Canary Islands.)

Tenerife and Mount Teide. A powerful ocean current, the Canary Current, sweeps boats straight over to the Caribbean. In the 1700s, somehow, a sailing ship got blown out of the harbor, minus its embarrassed crew, and ended up safe and sound in Venezuela. �Nivaria� is Latin for �snowy land,� due to Mount Teide. �Nevada� in the United States is Spanish for �snowy land,� due to its snow-capped high mountains.


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