The Catholic News Agency portal (November 15, 2025) reports on the planned film “Santo Subito!”, which dramatizes the fraudulent canonization process of Karol Wojtyła (John Paul II). The production openly admits its aim to present “a genuine behind-the-scenes investigation of the Vatican world” through the fictional character of Fr. Joseph Murolo, tasked with defending Wojtyła’s cause for sainthood. This cinematic exercise in historical revisionism exemplifies the conciliar sect’s systematic betrayal of Lex Orandi, Lex Credendi (the law of prayer is the law of belief) by manufacturing hagiography for a man whose theological deviations directly contradict defined Catholic dogma.
Canonical Farce Masquerading as Saint-Making
The film’s central premise – a “devil’s advocate” investigating Wojtyła’s life – constitutes theological absurdity given that the subject himself abolished the Promoter of Faith office through his 1983 apostolic constitution Divinus Perfectionis Magister. Quis custodiet ipsos custodes? (Who will guard the guards themselves?) Wojtyła dismantled the Church’s centuries-old safeguards against fraudulent canonizations precisely to enable his cult of personality. Pius XI’s 1930 canonization bull for St. Thomas More specifies that candidates must exhibit “heroic virtue in professing the Catholic faith” – a standard Wojtyła violated by:
- Promulgating the blasphemous Assisi interreligious gatherings (1986, 2002)
- Approving the heretical Catechism of the “Catholic” Church (1992)
- Kissing the Koran during a public ceremony (1999)
The conciliar sect’s canonization process has become a parody under Wojtyła’s reforms. As Cardinal Pietro Parente noted prior to Vatican II, the pre-1958 Sacred Congregation of Rites required 50 years minimum before opening a cause, precisely to avoid “popular enthusiasms obscuring judgment.” Wojtyła rushed his own cause in 26 days – faster than any saint in Church history.
“The film offers a genuine behind-the-scenes investigation of the Vatican world, while also taking us into the deeper realm of faith and values.”
This production quote reveals the project’s true aim: to sanctify Vatican II’s revolution through cinematic propaganda. The “deeper realm of faith” referenced is the Modernist heresy condemned by St. Pius X in Lamentabili Sane (1907), which declared: “The dogmas of faith are to be held only according to their practical sense” (Proposition 26). By framing Wojtyła’s life as a “moral labyrinth“, the filmmakers implicitly justify his doctrinal betrayals as complex “pastoral solutions“.
Wojtyła’s Record of Doctrinal Subversion
The film’s synopsis claims Murolo must prevent anything from “undermining the sanctification” of Wojtyła – a revealing admission that facts themselves threaten this canonization farce. Consider these documented actions by the Polish antipope:
| Heretical Act | Contradicted Dogma | Magisterial Source |
|---|---|---|
| Ecumenical Prayer Meetings with Pagans | Extra Ecclesiam Nulla Salus | Pope Boniface VIII, Unam Sanctam (1302) |
| Approval of New Mass | Sacrifice of Calvary Unrepeatable | Council of Trent, Session XXII |
| Kissing Koran | Mohammedanism as Perversion | Pope Eugene IV, Cantate Domino (1441) |
St. Robert Bellarmine’s De Romano Pontifice leaves no doubt: “A manifest heretic automatically ceases to be pope.” Wojtyła’s systematic dismantling of Catholic doctrine – from permitting Eucharistic sacrilege in his 1983 Code of Canon Law (#844) to denying the Social Kingship of Christ in his United Nations speeches – renders his “sainthood” not merely invalid, but diabolically inverted.
Theological Theater of the Absurd
Mark Ruffalo’s portrayal of “Fr. Murolo” continues Hollywood’s tradition of crafting sympathetic apostates, akin to “Fr. James” in Martin Scorsese’s blasphemous Silence. The film’s moral tension hinges on whether Wojtyła deserves sainthood – a question precluded by his documented heresies. As Pope Leo XIII decreed in Satis Cognitum (1896):
“The practice of the Church has always been the same, as is shown by the unanimous teaching of the Fathers… who were of opinion that heretics… were to be shunned.”
This production’s location filming in Poland and Italy serves as geographical whitewashing, ignoring Wojtyła’s collaboration with communist regimes against true Catholic resistance. The film omits his suppression of Archbishop Marcel Lefebvre while embracing Fidel Castro – concrete evidence of his revolutionary allegiances.
Manufacturing Saints to Canonize Vatican II
The conciliar sect’s canonization factory – producing over 1,500 “saints” since 1978 versus 302 in the previous century – aims to validate Vatican II through hagiographic inflation. Pius XII warned against this exact danger in his 1951 radio message:
“The true friends of the people… are neither revolutionaries, nor innovators: they are traditionalists.”
By glorifying Wojtyła – architect of the conciliar revolution – this film continues Bergoglio’s project of replacing Catholic saints with modernist idols. As St. Pius X declared in Pascendi Dominici Gregis (1907), Modernists “pervert the eternal concept of truth” by substituting living tradition with “vital immanence“. This movie exemplifies that perversion by presenting Wojtyła’s apostasy as heroic virtue.
The only “moral labyrinth” here is the viewer’s descent into theological confusion when asked to venerate a man who embodied the very heresies condemned by Quanta Cura (1864) and Lamentabili Sane (1907). True Catholics must reject this sacrilegious spectacle and cling to the Depositum Fidei (the deposit of faith) guarded by the pre-conciliar Magisterium.
Source:
Vatican-set thriller based on true story set to begin filming in 2026 (catholicnewsagency.com)
Date: 15.11.2025