Movies

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Hollywood discovers God! Again! Seriously, this New York Times piece is worth reading

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I've been around the Godbeat scene so long that I can remember the days when journalists would wait four of five years before they would write the same Big Trend Story all over again.

You know the ones I'm talking about. Things like the whole "Death of the Religious Right" story or the latest update on "Why megachurches are getting bigger." And did you know that interfaith marriages are a big deal in modern Judaism?

Another one of the standards has been the "Hollywood discovers that religious people watch movies" story. Because of my longstanding interest in this topic (hint, hint), I have been watching journalists discover this trend over and over ever since "Field of Dreams" and  "Home Alone." Hey, do you remember Michael Medved? Then in 2009, The Los Angeles Times even interviewed me about the roots of this trend behind the hit movie, "The Blind Side."

You can blame Mel Gibson and "The Passion of the Christ," of course, but there is more to this evergreen story than one or two big-ticket items.

Still, I was cynical when I saw this New York Times headline the other day: "Secular Hollywood Quietly Courts the Faithful." I expected another quick-turn news feature about this "hot topic."

In this case I was wrong. The basic message of this in-depth business feature was that this is a topic that is not new and that it is not going away, in part because Hollywood has entered an era in which making profitable niche-market films is almost as important as making special-effects blockbusters. And then there is the trend of evangelical churches adding massive video screens to their sanctuaries, so that preachers can spice up their sermons with video clips.

Instead of settling for shallow coverage of the latest wrinkle in this old story, this Times piece went for the deep dive. Here is the overture:

The Rev. Roderick Dwayne Belin, a senior A.M.E. Church leader, stood before a gathering of more than 1,000 pastors in a drafty Marriott ballroom in Naperville, Ill., this month and extolled the virtues of a Hollywood movie.


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'The Shack' movie cometh, but mainstream reporters miss the real religion issues

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I first heard of William Young’s “The Shack” in 2008, about a year after it came out. I knew it was an indie book set in the Pacific Northwest and, as it turned out, one of the main characters was kidnapped at an eastern Oregon campground that I’d once frequented. When the father of the victim wanders about the wilderness near Hell’s Canyon trying to find his daughter –- or at least her body -– I knew exactly where he was driving.

The book got a very mixed reception due to its unorthodox theology, but when I traveled to Oregon in the summer of 2009 for vacation –- and to interview the author -– I found him a likable, unassuming man. Despite the fact that he was now worth millions, he was plainly dressed and we met in a coffeeshop near his home in Gresham, a suburb east of Portland.

So it’s no surprise that 10 years after the initial 2007 release date, this story has been turned into a major movie. A writer for the Washington Post previewed it in a piece under a headline touting God as a "curvy black woman." Here's how that starts:

In the coming film adaptation of “The Shack,” a fictional book by William P. Young about a father’s path to renewed faith and healing after his young daughter’s murder, the character of God -- as depicted in the novel -- is portrayed as a curvy, maternal black woman. ...
At issue is Young’s characterization of the Holy Trinity, seen through the eyes of the story’s main character, who on the four-year anniversary of his daughter’s brutal killing is mysteriously invited by someone named “Papa” -- his wife’s affectionate name for God -- to the abandoned shack in the Oregon woods where the girl died.
He goes, reluctant and angry, unsure if he’ll be met by his daughter’s murderer.
Instead, he finds this: a Middle Eastern, Jewish carpenter named Jesus; the Holy Spirit embodied in a wispy Asian woman who loves to garden and God (played by “The Help” star Octavia Spencer) as the very opposite of the Gandolf-like grandpa figure modern society is used to seeing.
This depiction -- God as a woman despite its gender-less designation in the Bible -- has some critics incensed.

Whoa –- wait –- God in the Bible is genderless?


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Major anniversary for an American classic: The 'It's a Wonderful Life' arguments roll on

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Major anniversary for an American classic: The 'It's a Wonderful Life' arguments roll on

In about a week, Seneca Falls, N.Y., will be hosting a celebration of the 70th anniversary of the release of filmmaker Frank Capra's classic (more to come on that adjective) Christmas classic, "It's a Wonderful Life."

This town was the model, in many ways, for Capra's vision of the fictional Bedford Falls, home of the angry, but blessed, dreamer named George Bailey, portrayed in the film by the great Jimmy Stewart. Some of the events will be held, I am sure, at the town's It's a Wonderful Life Museum. 

I wrote about the ongoing interest in this film this week in my On Religion column for the Universal syndicate, after interviewing Catholic film critic Steven D. Greydanus and digging through my old copies of "The It's a Wonderful Life Book" and "The Name Above the Title," Capra's chatty, but at times philosophical autobiography.

That led to this week's Crossroads podcast (click here to tune that in), in which host Todd Wilken and focused on a two-part question: (1) Is there any real news in the anniversary of this film and (2), while we are at it, what are journalists to make of the fact that "It's a Wonderful Life" remains so popular AND controversial?

Well, I think it's likely that some feature writers will cover the Seneca Falls events as a hook for coverage of the anniversary -- period. However, the real question is whether anyone will probe deeper, exploring the debates that have raged about this film since it was first released (and flopped at the box office).

What kind of debates? That's where you get into the details of Capra's whole worldview -- which is both Catholic and fiercely American -- and the film's unique blend of stark darkness, even anger, and light. The key is that you really need to watch the whole movie, not just the joyful end of the famous final act.

As a clue to the contents of the podcast, let's compare two different views of this movie. First, there is this material from the values section of the Vatican's Best Films List:

This well-known film directed by Frank Capra is made great by the acting of Jimmy Stewart as a genuinely good man who resigns himself to having all of his life plans thwarted by his duty to his community and family. Sometimes vocation is more about doing one’s duty than fulfilling one’s desires. It is only when Stewart’s character submits entirely to his calling, and sees what good he has done for others in his life, that he realizes that his life has been worth living.


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Mel Gibson and his 2016 multi-media tour: Can this fallen star ever repent enough?

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Mel Gibson, for years one of the most despised men in Hollywood, appears to be back on top with the release of a new film “Hacksaw Ridge.” This has brought together a delightful brew of movie reviews, Gibson gossip fests and interminable articles on how this industry pariah and renegade Catholic is trying to redeem himself, through a marathon of interviews in news and entertainment media.

There is valid religion-beat news here. It’s impossible to sidestep the faith factor in the story of how the maker of“The Passion of the Christ” has now come out with a movie about a Seventh-day Adventist conscientious objector who survives one of World War II’s bloodiest battles without so much as a gun by his side.

In one of those journalistic mixes of opinion and fact that are all too common in newspapers these days, the Los Angeles Times expounds on all this.

 At the recent Academy premiere of "Hacksaw Ridge," there was a 10-minute standing ovation.
Not terribly surprising, except it was for Mel Gibson.
Ten years ago, Gibson was the most hated man in Hollywood. First, during a DUI arrest,  he verbally assaulted police officers using anti-Semitic and sexist language. Then he was caught on audiotape threatening his then-girlfriend with rape and other physical abuse as well as dropping the N-word.
Forget standing ovations; many believed he would never work again.
But forgiveness, like everything else, has always followed a hierarchy in Hollywood. The elite — those who've won awards, broken box office records, sold successful franchises — are often welcomed back even as newbies like Nate Parker or middlings like Lindsay Lohan are cut loose. 


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And this just in: The young, male, video-games crowd doesn't remember the great Ben-Hur

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And this just in: The young, male, video-games crowd doesn't remember the great Ben-Hur

First, sorry for the delay on this week's "Crossroads" podcast. We had some technical difficulties, which happens every now and then in the Tower of Babel environment that is the Internet. Every now and then the software gods just don't get along.

The topic of my chat this week with host Todd Wilken (click here to tune that in) was, on one level, the box-office problems of the latest version of "Ben-Hur: A Tale of the Christ." But my earlier post on this topic also focused on the ongoing interest, in the mainstream media, in Hollywood's quest to tap into the "Christian" movie market, in the wake of the $611 million box office haul taken in by Mel Gibson's "The Passion of the Christ."

It's a great story and a very timely one. Basically, the folks behind the new Ben-Hur made a big-budget religion-niche movie, thinking that the young, male, action-movie demographic would show up for the chariot race scene.

What chariot race scene, you ask? Well, the one that movie scholars -- but not, it's safe to say, today's video-game fanatics -- remember with awe from the 1959 classic.

What were the producers of the new flick thinking?

That would be a great hard-news story, methinks, as opposed to a kind of no-sources analysis thumbsucker like the Atlantic piece I previously discussed.

Well, what do you know? The Los Angeles Times team produced a real news story about this bad, bad summer in Hollywood. The headline: "Hollywood's summer problem? Reboots people don't want."

The opening is pretty brutal:


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The Atlantic covers (sort of) the Ben-Hur flop and the epic quest to sell Christian films

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Let me start with a question: I do not know if the following piece from The Atlantic is a news report, an opinion essay or a movie review.

It addresses a topic that is certainly worthy of a news report -- the box-office flop (so far, I guess) of the latest version of Ben-Hur: A Tale of the Christ. Lurking behind this movie is a larger topic, which is Hollywood's ongoing attempt to tap into the "Christian audience" that turned out for Mel Gibson's The Passion of the Christ in 2004.

Studio executives have been chasing Gibson's Passion demographic for a decade and major newsrooms have been covering those efforts over and over and over. Like I said, this is a topic worthy of serious reporting.

Here's the crucial question: Is this "Christian" niche a $50 million or so marketplace for low-budget movies or a place where Hollywood players can find the magic formula that produces big box-office bucks for major releases that cost $100 or so? So that's what is going on in this Atlantic piece, that ran with this headline:

Ben-Hur Was Hollywood’s Epic $100M Mistake
The film flopped hard at the box office after studios tried to copy the success of 2004's The Passion of the Christ.

The following summary material is long, but you need to read it to understand my main point in this post.

The fifth film adaptation of Lew Wallace’s 1880 novel Ben-Hur: A Tale of the Christ was a $100 million co-production between Paramount Pictures and MGM. It starred the relatively unknown British actor Jack Huston in the title role, was directed by the mid-tier action maestro Timur Bekmambetov (Wanted, Abraham Lincoln: Vampire Hunter), and drew largely negative reviews. Many critics noted the film’s supreme inferiority to William Wyler’s 1959 version of the tale, which won 11 Oscars and is widely viewed as one of the greatest classic Hollywood epics. Just the idea of remaking Wyler’s film feels like a colossal error in an age of tiresome franchise reboots -- but when you consider how studios tried to belatedly capitalize on religious audiences to save the movie, the existence of Ben-Hur seems all the more cynical.


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Hey Los Angeles Times team: There was a purpose-driven ghost in your Phelps story

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Another day, another news report about an American at the Olympics, another chance to spot an important religion ghost.

Actually, this particular Los Angeles Times story was about the ultimate Olympian in the 2016 games in Rio de Janeiro -- as in Michael Phelps, the superstar swimmer who has 21 gold medals and counting, as of last night.

It's crucial to know that the goal of this story was to describe how Phelps turned his life around and made it back to his fifth Olympics, after a series of private-life disasters that suggested he was all washed up. But here is the angle for GetReligion readers: When Phelps tells the story of his comeback, was there a faith-based -- maybe "purpose driven" -- hook in there somewhere? Hold that thought.

First, here is the solid, punch Times description of the pit that Phelps dug for himself:

Four years ago, Phelps didn’t want to swim. He wasn’t training diligently. He wasn’t happy in the pool. He tried to fake it. Phelps managed to win four gold medals and two silvers in London, still performing at a different level than the rest of the world even when he didn’t care. ... He finally had enough.
Phelps retired for 18 months and wanted nothing more to do with swimming. Longtime rival and 11-time Olympic medalist Ryan Lochte predicted it wouldn’t last. He was right. Phelps couldn’t resist the lure of the pool and returned in April 2014. He gradually started to fall in love with the sport again. ...
The pivotal moment, however, came when he was cited for driving under the influence after leaving a Maryland casino in September 2014. Phelps, who pleaded guilty and was sentenced to 18 months of probation, enrolled in a 45-day treatment program in Arizona. This wasn’t his first run-in with trouble outside of the pool. Ten years earlier, Phelps was arrested for DUI and a tabloid published a photo of him in 2009 inhaling from a marijuana pipe.

So what happened to Phelps?


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Journalism f-word alert: New York Times serves up classic hit piece with Tim LaHaye obit

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You may have heard of hit pieces, which is journalism aimed at taking a person down. Here is a hit obituary -- The New York Times’ article on the passing of evangelical superstar Tim LaHaye.

Check out the headline: "Tim LaHaye dies at 90; fundamentalist leader’s grisly novels sold millions." That gives you an idea of where this article is headed.

Now tmatt has, through the years, written time and time again urging journalists to heed the advice of the Associated Press Stylebook and to avoid most uses of that particular f-word, along with Mollie Hemingway and others in the GetReligion pantheon.

Now, it is certainly true that LaHaye went to Bob Jones University, a campus that has long embraced the "fundamentalist" label, but he also led a Southern Baptist church and most members of America’s largest non-Catholic Christian denomination would never call themselves fundamentalists. Also, his audience as a writer and speaker was much larger than the "fundamentalist" niche.

Guess the Times didn't get that memo. Here’s how the piece starts:

The Rev. Tim LaHaye, a leader of the Christian fundamentalist movement and co-author of the best-selling “Left Behind” series of apocalyptic novels prophesying mass slaughters and the end of the world, died on Monday in a San Diego area hospital. He was 90.
His death, days after he had a stroke, was announced on the website for his Tim LaHaye Ministries.
In an age of seemingly endless natural and man-made disasters, the action-packed tales by Dr. LaHaye and Jerry B. Jenkins struck readers as all too realistic, even if they were based on biblical accounts of the Second Coming, the appearance of an Antichrist and multitudes leaving a calamitous dying world for heaven.


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A movie god for sure: Journalists stumble to explain an Indian star's spiritual appeal

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Ah, you tame Americans, with your talk about "idols" and "hero worship."  Until you know something of the frenzy around Indian movie star Rajinikanth, you ain't seen nothin'.

Stories abound about the action hero, who has just turned out his first film in two years. But few western news media have captured the fevered fervor like the Washington PostAnd it does so right from the start, with the headline: "India’s biggest action-movie star isn’t just an actor. ‘He is god.’ "

The religion ghosts are dancing right out in the open, in this report. Why didn't the Post team ask specific questions about that? We will return to that subject.

Meanwhile, one fan speaks of an "unmatchable energy" in a theater during a showing. Another compares viewing a Rajinikanth film with seeing his wife's baby for the first time. And in India, some companies are treating the release of one of his films like a religious holiday:

In Chennai, some companies gave employees the day off Friday so they could go see "Kabali," Rajinikanth’s first film in two years. Others had booked entire cinemas for their staff. Air Asia flew 180 fans to the city for the first-day showing in a plane ­custom-painted with the star’s likeness. One county was giving away free tickets to people who pledged to install an indoor ­toilet, taking advantage of the movie’s popularity to address the issue of widespread public defecation.
"Rajinikanth is not a human being. He is not an actor. He is [a] god," said S. Thanu, the producer of "Kabali."

And no, the producer isn’t the only one who talks like that.

Indiaglitz calls him a "demigod." 


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