It wasn't a thing of beauty but the Colts won the game in spite of weak performances from the running game and an unproductive pass rush. It looked like Kyle Orton had all day to throw the ball to his receivers and he wound up throwing for 476 yards. The Colts did buckle down in the Red Zone limiting Denver to Field Goals instead of touchdowns and twice stopping them completely on 4th down attempts.
I've always felt, Denver has the best home field advantage in the league when you consider the altitude and on Sunday the temperature on the field was 110 at game time. The conditions obviously had an affect on the Colts as defensive players could be seen gasping for air throughout the game.
The passing game of the Colts did an outstanding job in the face of a well prepared Bronco secondary. With both Pierre Garcon and Anthony Gonzales out with injury and Offensive left tackle Charlie Johnson nursing injury, the Colts had their work cut out for them. Denver double teamed Dallas Clark throughout the game and allowed one of the best cover corners in the game, Champ Baily to work against Reggie Wayne. Both contributed but not with their usual numbers. Austin Collie stepped up in a big way and Rookie Blair White, just brought up from the practice squad, managed to catch 3 balls, one for a touchdown. Austin Collie's 12 receptions for 171 yards and 2 TDs made it his best day as a Colt. He now leads the league in receptions 27, yards 359 and is tied for TDs with 4. Engineering the passing attack of course was Peyton Manning who made a tremendous play when the Colts needed it most. On a third and fifteen from the 17 yard line, Manning hit Collie with a beautiful throw that went for long yardage and a first down. Peyton and Collie were sensational.
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"Every Mouth Closed"
Pastor Paul Woodruff
Roman 3;9-22
The Bible reveals that there is no chance at all of going to Heaven on the record of one's life.
No one should want to have their eternal destiny based on what he or she has done
God has already examined our record and declared we are guilty & that "every mouth will be shut closed' vs 19-- nothing we can offer in our defense
3 Major areas of God's Indictment of Man
1. God Looks At Man's Character
5X "There Is None"
THERE IS NONE RIGHTEOUS
-any one less righteous than God is a sinner Prov 20:9, Ecc 7:20
-no one can live according to God's righteousness
THERE IS NONE WHO UNDERSTANDS
-we don't understand our spiritual condition no matter how smart we are
Eph 4:18 "Being darkened in their understanding, excluded from the life of God because of the ignorance that is in them"
1Corininthians 2:14 "But a natural man does not accept the Spirit of God, for they are foolishness to him and he cannot understand them because they are spiritually appraised."
Salvation is the only way for the blinders to come off Romans 15:20-21
THERE IS NONE WHO SEEKS GOD
Psalm 10: 4 "The wicked in the haughtiness of his countenance, does not seek Him. All his thoughts are, 'There is no God."
Man runs and hides from God. It is God who seeks out man.
ALL HAVE TURNED ASIDE & BECOME USELESS
men have become the way we are because of our rebellion
THERE IS NONE WHO DOES GOOD
2. God Looks At Man's Conversation-- Romans 3:13-14
We speak in ways that reveal our heart- Lies, deceits, Filth
God hears and inspects all our words
Matthew 12:36-37 But I tell you that every carelss word that people speak, they shall give an account forit in the day of judgment. For by your words you will be justified, and by your words you will be condemned."
3. God Looks at our Conduct-- Romans 3:15-16
God sees all the misery & mahem Man creates all over the world
God sees all the conduct we don't see Rom 2:16 "God will judge the secrets of men."
The seeds of even the grossest of sins reside in man's heart
We live in a way that we don't FEAR God &
"The Fear of God is the beginning of Wisdom"Prov 1:7
Final Verdict Man is Guilty and accountable to God we are under the guilt & consequences of sin
No one will be justified by the works of the law vs 20
VS 21-22 Jesus is the solution God provides
God does for us what we can't do for ourselves Jn 3:16
To Listen to the message go to:
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Thriller of the Week:
Der Golem
1920
Director: Paul Wegener
Set Design: Hans Poelzig
Photography: Karl Freund
Third times the charm: Paul Wegener had made two previous movies chronicling the legend of The Golem, but it is this third entry that is considered a classic of the silent era. Wegener also plays the part of the title character in the film.
Spoilers below
The film's subtitle "How He Came Into The World" indicates this film includes the monster's origin. Wegener tells the story of this Jewish legend from the 16th century.
In a Jewish Ghetto in Prague a Rabbi named Loew who dabbles in magic and astrology learns of a coming crisis for the town. Using the black arts, he creates a clay statue of a behemoth like man who he believes will protect and serve the town. A magic amulet designed in the shape of a star of David is used to bring the creature to life.
The Emperor calls upon the Rabbi to appear in his court. The knight who brings the message falls in love with the rabbi's daughter and while the Rabbi is appearing in the Emperor's court the Knight returns to his daughter's bed. Rabbi Loew has brought the Golem with him to court. After the Rabbi attempts to plead with the Emperor for his people and projects images of the Jewish people's struggles the crowd begins to mock him. Angered the Rabbi causes the roof to cave in on all in attendance, but allows the Golem to save them for a repeal of the edict against the town.
The Golem begins to show some rebellion toward the Rabbi after they return to the ghetto. A text reveals to the Rabbi:
If you have brought the dead to life through magic, beware of that life.
When Uranus enters the house of the planets, Astaroth will demand his creature back.
Then the lifeless clay will scorn its master & turn to destroy him and all it meets.
Rabbi Loew decides he must remove the amulet returning him to a lifeless, clay statue.
The Rabbi's right hand man who secretly loves the Rabbi's daughter discovers the Knight and Miriam's indiscretions and places the star of David back on to the Golem's chest and leads it to the couple.
The Golem hurls Knight Florian to his death from atop the tower and appears to be sexually drawn to Miriam himself.
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When spurned, The Golem goes into a wild rage, burning down the Rabbi's home and destroying everything in its path dragging Miriam along before abandoning her. The Golem enters a large gate and a small child who shows no fear of the monster. The Golem lifts her into his arms and she reaches out and plucks the amulet from its chest. The creature goes lifeless again. and when the Rabbi arrives he proclaims, " Give thanks to Jehovah, for today He has thrice shown His love for His People."
The Golem could be considered a predecessor to Frankenstein and indeed James Whale must have remembered the scene with the little girl offering the Golem the apple when he had a similar scene when an unafraid child is confronted by Whale's monster. In addition the Golem is a creation that must go through a growing up period and like an adolescent, the creature rebels and goes through a sexual awakening. Frankenstein's monster will go through a period of child development also.
For me, the spiritual implications are not lost. Rabbi Loew, like so many has gone astray of his faith as he has begun to seek other gods and dabble in astrology as well as the black arts which are strictly forbidden in Jewish Law. His creation of The Golem is in direct defiance of
Leviticus 19: 4 "Do not turn to idols or make for yourselves molten gods". Instead of turning to God for security in the face of trouble, he trusts his arcane knowledge. In the end, what is brought forth from his apostasy is hell unleashed. The people dipicted in the movie are not unlike so many past generations of Hebrews who have been stiff necked and sought out other gods and turned from Jehovah.
The Overlook Film Encyclopedia of Horror points out "The picture marked a decisive step forward in German, as well as world, cinema, blending all the resources of acting, set design, photography, and direction into a wonderfully orchestrated piece of film which did not rely on ostentatious expense to achieve its effects. Poelzig's sets of old Prague creates a since of claustrophobia and instability with its oblique and jagged lines, while Freund's virtuoso lighting weaves its own superimpositions."
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