Arts

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The real 'Exodus': media coverage that goes beyond the dollar signs

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Ridley Scott mustered $140 million for Exodus, his epic on the biblical Passover story, only to see it reap a mediocre $24.5 million last weekend. But the real-life plagues struck media reports: plagues of blindness and deafness to the religious and spiritual causes for the tepid opening receipts.

But we'll start with the two bright spots I saw.

To my surprise, the best report appears in Variety, not your typically spiritual journal. Its 500-word story reads like an indepth, but refreshingly without blatant opinion or obvious attempts to steer our viewpoint. Its three expert sources prove the points of the article.

Noting that this was supposed to be "the year that Hollywood found religion," writer Brent Lang traces the uneven record for faith-based films in 2014. Big-budget spectacles, like Exodus and Noah, have stumbled, while smaller films like God's Not Dead and Heaven is for Real have triumphed. And Lang asks his sources why:

With 77% of Americans identifying as Christians, Hollywood sees a big audience for these kind of films.
“The Bible is a hot commodity,” said Jeff Bock, a box office analyst with Exhibitor Relations. “The secret is to start small, keep the budget manageable and get into grassroots marketing.”

Nor is this a new trend. Variety notes that The Passion of the Christ, Mel Gibson's 2004 film, grossed $612 million on a $30 million budget. And its opening weekend reaped $83.8 million.

Again, an expert source explains:


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Memory eternal: Editing out P.D. James the believer and the mystery of the human heart (and soul)

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If asked to name the work of new fiction (in other words, as opposed to Jane Austen) that I have read in the past few decades that moved me the most, I would without hesitation say "The Children of Men" by P.D. James.

No, I have not seen the movie that is allegedly based on the book because friends who are fierce James fans warned me not to. Why? They said the team behind the movie ripped out the book's gripping Christian foundation, which I have heard referred to as a sci-fi take on the "Culture of Death"  theme in the work of Saint John Paul II.

Here is the last sentence of the book, in which an underground (and very fragile and flawed) circle of Christian believers fight to bring life back into a world that has mysteriously gone sterile: "It was with a thumb wet with his own tears and stained with her blood that he made on the child's forehead the sign of the cross."

Now, we are watching a similar editing process take place in some -- repeat some -- of the mainstream media obituaries for one of the most important English writers of the past half a century.

C.S. Lewis said the world didn't need more "Christian writers," it needed Christians who were willing to do the hard work of writing for everyone. That was P.D. James. The great Dorothy L. Sayers considered murder mysteries the perfect form of writing for Christians because they open with an act of undeniable evil (evil exists) and then someone goes into the world seeking concrete evidence of truth (truth exists) in order to produce justice (it is possible to do good in the real world). That's P.D. James, as well.


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This Patti's got no beef with Francis: Daily News on rocker Smith's tangled road to Rome

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Veteran Daily News rock critic Jim Farber made a rare venture into Godbeat yesterday with a story on Patti Smith's response to criticism over her planned performance at the Vatican's Christmas concert. Although Farber bases his piece upon a report in The Guardian, he improves upon his source by adding substantial recent background on Smith's faith journey.

The lede is provocative, like Smith herself:

Patti Smith wasn’t sorry for her words then - and she isn’t sorry for her actions now.
Last week, the Godmother of Punk drew criticism from all sides after accepting the invitation of Pope Francis to sing at the Vatican’s upcoming Christmas concert.
One Italian Catholic organization labeled the star “blasphemous.” Meanwhile, some hipsters found Smith’s proposed appearance hypocritical, considering she opened her very first album, "Horses,” with the famous sneer, “Jesus died for somebody’s sins/but not mine.”
On Tuesday, Smith answered her critics during a talk at the Museum of The Moving Image in New York. After being asked about the controversy by The Guardian’s Vivien Goldman, who was in the audience, the rocker said, “I like Pope Francis and I’m happy to sing for him. Anyone who would confine me to a line from 20 years ago is a fool.”

Farber then goes into rock-historian mode. By his own admission, he's been writing about music since the Ford Administration, and he's well familiar with Smith's oeuvre:

Actually, the line comes from 40 years ago, kicking off a song called “Gloria (In Excelsis Deo).” The track melded Smith’s own transgressive poetry with a cover of Van Morrison’s ‘60s hit with his band Them, “Gloria.”

Then comes the closest thing Smith offers to a mea culpa: 

“I had a strong religious upbringing and the first word on my first LP is Jesus,” Smith explained. “I did a lot of thinking. I’m not against Jesus, but I was 20 and I wanted to make my own mistakes. And I didn’t want anyone dying for me. I stand behind that 20 year old girl, but I have evolved. I’ll sing to my enemy! I don’t like being pinned down and I’ll say what the f--k I want - especially at my age.” (Smith is now 67).


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Box-office religion: What explains Hollywood's 'holy movie' picks?

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Box-office religion: What explains Hollywood's 'holy movie' picks?

KIRSTEN ASKS:

I wonder why I cannot think of any movies with stories from the Torah, Quran, or other holy texts. Are there any in the works?

THE RELIGION GUY ANSWERS:

There’s considerable mystery about Hollywood and “holy movies.” Why are they often amateurish or offer ham-handed derision toward beliefs and believers? Why do few high-quality movies respect religion despite the large potential audience? Showbiz wised up a bit when Mel Gibson’s “The Passion of the Christ” (2004) scored $370 million in U.S. box office and became history’s most profitable film with an R rating (due to violence).

Kirsten posted this question early in 2004, which turns out to offer eight notable features with religious aspects. On her specific point, studios know the U.S. audience has far more Christians than Muslims, Buddhists, or Hindus, and that factor affects releases globally. Note that any movie drawn from the Jewish Torah equally appeals to Christians, since their Bible begins with the same five “Old Testament” books.


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