“Jesus Revolution,” released on February 24 and reviewed here on March 10, has now earned $50 million in box-office receipts, a milestone for any movie. The film achieved this remarkable success during the most anti-Christian administration in U.S. history.
Joe Biden’s FBI infiltrates churches, persecutes pro-life Christians, and portrays Christian parents as domestic terrorists. After actual domestic terrorist Audrey Hale murdered six people at a Christian school, Joe Biden failed to name a single victim, including slain nine-year-olds Evelyn Dieckhaus, William Kinney, and Hallie Scruggs, daughter of Covenant Presbyterian pastor Chad Scruggs.
Biden also failed to attend any of the funerals, including the one for African American Mike Hill, gunned down at 61. Not a single parent of the slain children got an invitation to the White House, where the Delaware Democrat recently entertained three state representatives who disrupted the legislature days after the Nashville massacre.
Biden blamed the Nashville attack on guns, not the freewill actions of Audrey Hale. In the wake of Hale’s murder spree, White House mouthpiece Katrine Jean-Pierre told reporters “our hearts go out to the trans community as they are under attack right now.” For all but the willfully blind, there’s a lesson here.
The Biden Junta is all-in with trans ideology, as Bruce Bawer notes, an unprecedented “revolution against reality itself,” and now being imposed on the people. Behold Admiral Rachel Levine, who bears some resemblance to the cross-dressing Dr. Robert Elliott (Michael Caine) in “Dressed to Kill.”
Swimmer Lia Thomas bears some resemblance to Mark Spitz but prefers to compete against women. Beer drinkers find Dylan Mulvaney, a man who thinks he’s a woman, representing Bud Light.
This multifront campaign recalls Gleichschaltung, the German National Socialists’ term for total control of society, with the militant “trans community” serving as Biden Jugend. Filmmakers have a fine example to follow. “The Mortal Storm,” (1940) from MGM, picks up the action after Hitler’s rise to power in 1933. The Nazi regime divides German friends and family alike.
College professor Viktor Roth (Frank Morgan) refuses to teach the bogus “science” of Aryan racial superiority. Fritz Marburg (Robert Young) and Martin Breitner (James Stewart) are rivals for Freya Roth (Margaret Sullavan), who gets in trouble for what she thinks and writes.
Ward Bond is Franz, a Nazi official and Holl (Dan Dailey) joins the Hitler Youth. Otto Von Rohn (Robert Stack), among others, must decide whether he will maintain his integrity or conform with the regime. The film closes out with a voice-over quote from “God Knows,” a 1912 poem by Minnie Louise Haskins:
And I said to the man who stood at the gate of the year:
“Give me a light that I may tread safely into the unknown.”
And he replied:
“Go out into the darkness and put your hand into the hand of God.
That shall be to you better than light and safer than a known way.”
King George VI quoted those lines in his Christmas broadcast in 1939, months after World War II began, and one year before “The Mortal Storm” appeared. Contemporary parallels to that film await their turn on the big screen.
A college professor declines to follow trans ideology, loses her job, then wins it back in triumph. An actual woman—like, say, Riley Gaines—goes up against a fake woman and winds up winning fair and square. A young mother is tipped off about a plot to murder children at a Christian school, and takes down the shooter before she can act. And so on.
To paraphrase Michael Corleone (Al Pacino) in “The Godfather,” filmgoers might like stories like that. As $50 million confirms, they sure liked a story about stoned-out hippies becoming Christians in California more than 50 years ago.
In the wake of the success of “Jesus Revolution,” and in the midst of a mortal storm, the dramatic possibilities are truly endless.