Movie violence

HAVING just read the review of Mel Gibson’s “Apocalypto,” I am moved to ask why Kenneth Turan dismisses this particular film artist’s mastery with a condemnation of the depictions of copious amounts of violence [“The Other Mr. Gore,” Dec. 8]. Just as “Apocalypto” is a riveting work of filmic art and entertainment, it is also a true artist’s examination of one of the great mysteries of human history: How and why did a thousand-year-old civilization of such great accomplishments and evolved organization vanish in the blink of an eye? Perhaps because of the violence?

Where and if lines regarding media violence should be drawn are valid questions, but when Turan states that the only audience who will enjoy “Apocalypto” will be made up of the cruelest Nazi-types, he reveals that the real purpose of his review is to disparage Gibson personally, and has little to do with his work. Turan’s review is a case of sober intolerance attacking drunken intolerance, and that the one is worse than the other.

DAVID CHRISTIAN

Los Angeles