This February it may not be pleasant, but it’s crucially important that conservatives turn out in droves to support the theatrical release of the feature movie, “Gosnell.” Telling the jaw-dropping true story of the man who may be America’s most prolific serial killer in history, late-term abortionist and infanticidal maniac Kermit Gosnell, this movie has to overcome significant obstacles to even get off the ground.
First, since it exposes the horror of abortion, and the way its purveyors use and abuse women for profit, disregarding innocent human life in the process, the film was anathema to liberal Hollywood. Directors had to rely on a record $3.2 million in crowdfunding just to be shot, and is still searching to find a distributor.
Secondly, the media mistreatment of this film will be immense. Anyone who followed the trial of Kermit Gosnell most likely remembers two shocking moments.
- The Grand Jury testimony of a neonatologist regarding the barbaric practice of Gosnell snipping the spinal cords of thousands of infants:
If a baby moves, it is alive. Equally troubling, it feels a “tremendous amount of pain” when its spinal cord is severed. So, the fact that Baby Boy A. continued to move after his spinal cord was cut with scissors means that he did not die instantly. Maybe the cord was not completely severed. In any case, his few moments of life were spent in excruciating pain.
- The shocking photograph of the rows of empty seats at the trial with signs reading, “reserved for media.”
And finally, this is an extraordinary opportunity to convey the value and superiority of conservative principles in an emotionally persuasive context. Conservatives don’t lose the abortion argument on logical grounds, medical grounds, scientific grounds, moral grounds, or constitutional grounds. We lose the argument when the advocates of legalized child killing successfully inject emotion into the discussion as a distraction.
If there’s one thing that the true story of mass baby murderer Kermit Gosnell does, it strips Planned Parenthood, the leftist politicians and media giants they control, and the entire left wing of the escape behind emotions.
Co-producer John Sullivan knows that’s true:
“The fact that it’s a feature film carries more political and cultural weight than anything else.” … “When you look at Hollywood in general — and I’m including the news, television, the movies and that — the driver for all this is theatrical films,” Mr. Sullivan said. “When you look at the magazine rack at your local grocery store, it’s going to have movie stars on it. That’s who’s mostly going to be there. And O.J.”
What’s missing are right-wing voices. “Really conservatives have abandoned this platform,” he said. “I don’t know why it happened, I really don’t,” Mr. Sullivan said. “I’ve asked a lot of people. Some would say they were driven out of it, some would say it was natural attrition. But it’s something we have to go back to if we ever want to have any shot at having any point in the culture at all.” The stakes are high. “Without that,” he said, “we might as well write everything off at this point in time. I hate to sound pessimistic in that way, but that’s the way it is.”
Conservative Christians came out in large numbers to watch “The Passion of the Christ.”
Conservative patriots came out in large numbers to watch “American Sniper.”
Conservative politicos came out in large numbers to watch Dinesh D’Souza’s “America” and “2016: Obama’s America.”
If all three groups came out in February, it could send a powerful message to the culture.