September Dawn: Because the only thing eviler than Mormons are Mormons with creepy facial hair…
Those brave Hollywood truthtellers have decided to finally take on September 11 and terrorism. Except in this one, the Muslim extremists aren’t the bad guys…the Mormons are. Yep, according to the Hollywood elite, it’s Mormons we should fear, not jihadists. The movie September Dawn focuses on an event that occurred in 1857, when a rogue band of Mormons attacked a wagon train of passers-by from Arkansas. From the looks of the trailer, you’d think this was some recently uncovered Mormon conspiracy, hidden for 150 years. In reality, the event has been discussed and analyzed ad nausem by scholars (Mormon and non-Mormon). The movie also plays fast and loose with historical facts, reviving an old conspiracy theory that Mormon leader Brigham Young was the architect of the attack – despite substantial evidence to the contrary.
From Slant Magazine’s early review of the film:
Christopher Cain’s portrait of the Utah region’s Mormons as insane-in-the-membrane zealots, as well as its depiction of their successful plot to kill (with the help of local Native Americans) 120 immigrants passing through to California, is reportedly based on the official 27-page confession of convicted Mormon John D. Lee. Yet the clunky, heavily skewed means by which this tale is presented is nothing short of egregious, with its Mormon characters demonized with such laughable gusto, and its Christian victims cast in such a holy, noble light, that the project quickly feels less like an attempt at historical truth-telling than like shameless anti-Mormon propaganda.
Ans from the astute Michael Medved:
To try to claim contemporary relevance for September Dawn, its director, Christopher Cain, and its veteran star, Jon Voight, both tell interviewers that the project recounts a pertinent story of “religious fanaticism” — emphasizing the eerie coincidence of the massacre’s date (Sept. 11) and showing martyred “prophet” Joseph Smith (portrayed as an arrogant, preening dandy shortly before his death at age 39 at the hands of a lynch mob), declaring himself a “New Mohammet” and threatening holy war against his enemies.
The film’s deliberately drawn analogy between Mountain Meadows and 9/11 raises the most puzzling question about this peculiar project: Why frame an indictment of violent religiosity by focusing on long-ago Mormon leaders rather than contemporary Muslims who perpetrate unspeakable brutalities every day?
In fact, Hollywood’s reluctance to portray Islamo-Nazi killers remains difficult, if not impossible, to explain. Since 2001’s devastating attacks, big studios have released numerous movies with terrorists as part of the plot, including Sum of All Fears, Red Eye, Live Free or Die Hard, The Bourne Ultimatum and many more, but virtually all of them show terrorists as Europeans or Americans with no Islamic connections. Even historically based thrillers downplay Muslim terrorism: Steven Spielberg’s Munich spends more than 80% of its running time showing Israelis as killers and Palestinians as victims, while Oliver Stone’s World Trade Center highlights the aftermath of the attacks with no depiction of those who perpetrated them. United 93 stands out among recent releases in showing Islamic killers in acts of terror — and it would be hard to tell that story without portraying the suicidal hijackers.
Beyond topicality, Tinseltown’s respect for Muslim sensibilities has proved so pervasive that there has been little or no reference to bloody episodes of the Islamic past. In Kingdom of Heaven, Muslim followers of Saladdin appear far more sympathetic than the thuggish, devious Christian Crusaders. Despite the fact that founders of Islam built their religion through centuries of conquest vastly more bloody than incidents at the beginnings of Mormonism, it’s unthinkable that filmmakers would ever depict Mohammed and his followers as viciously as they handle Brigham Young in September Dawn.
Chilling effect
In part, preference for Mormons over Muslims as targets of cinematic scorn stems from reasonable concerns for personal safety. Islamic communities have proved more than a mite touchy over media depictions of their faith: Consider the deadly worldwide riots over a dozen Danish cartoons, or the taking of more than 100 American hostages and bans in Muslim countries inspired by the respectful 1977 film Mohammad, Messenger of God (directed by a Syrian and financed in part by the Libyan government).
Mormons won’t respond with any comparable rage, no matter how badly September Dawn tarnishes the memory of their faith’s founders. In fact, the LDS Church has adopted an official policy of “no comment” regarding the film, and there have been no examples of young Mormons strapping dynamite to their bodies and blowing themselves up to protest perceived insults to their religion. They have cheerfully endured another recent film assault (Jane Fonda’s Georgia Rule) that showed Mormons as stupid, petty, sexually repressed losers, and an edgy episode of TV’s South Park showing the story of Joseph Smith with a background chorus describing it as “dumb-dumb-dumb.”
So, why all the hate for Mormons all the sudden? I mean, if you’re going to pick a religion to castigate, it doesn’t make much sense to chose a religion as benign as Mormonism. Have Mormons ever flown planes into our buildings? Have they ever bombed a US embassy? When Muslim extremists commit atrocities, we’re lectured by Hollywood types on acceptance and tolerance. Islam is the “religion of peace” after all. But when it comes to Mormons – oh, they’re the real enemy.
Perhaps this has something to do with the Mitt Romney candidacy. With this movie, Hollywood gets a 2 for 1 smear – Mitt and those kooky Mormons. Just a theory. Regardless, one has to wonder whether the geniuses behind this film have ever so much as met a real-life Mormon. Do these people really think this is what Mormonism is all about? If so, they’re a bunch of clueless idiots.
Anyone who studies their history knows Mormons were ruthlessly persecuted in the 1800’s. Hunted ruthlessly from state to state, the Mormons eventually fled to Utah to avoid annihilation. The governor of Missouri issued an extermination order – legalizing the murder of Mormons in the state. Joseph Smith, leader of the early Mormons, was assasinated by an angry mob. So, after all of these injusitces, Hollywood chooses to focus on one act of deviance by a small band of renegade Mormons – an act that was immediately condemned by the Church itself.














