penance

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It's hard to avoid the theology in 'A Christmas Carol,' but some movies do just that

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It's hard to avoid the theology in 'A Christmas Carol,' but some movies do just that

On his way to becoming a Hollywood superstar, Bill Murray demonstrated great skill at delivering rants that blurred the line between lunacy and pathos.

In the 1988 flick "Scrooged," he belted out lessons learned from visits with the ghosts of Christmas past, present and future, as well as occupying his own coffin in a crematorium.

"I'm not crazy. It's Christmas Eve. It's the one night when we … share a little more. For a couple of hours, we are the people we always hoped we would be. It's really a miracle because it happens every Christmas Eve," proclaimed Murray's character, a greedy, arrogant TV executive.

"If you waste that miracle, you're gonna burn for it. I know. … There are people that don't have enough to eat and who are cold. You can go and greet these people. Take an old blanket out to them or make a sandwich and say, 'Here!' l get it now. … I believe in it now."

"Scrooged" is a fascinating Tinseltown take on the Charles Dickens novella "A Christmas Carol" because of what the film contains and what it leaves out, said English literature professor Dwight Lindley of Hillsdale College in Michigan.

This dark comedy contains miracles, ghosts, angels, sin, judgment, penance, purgatory, damnation, the Grim Reaper and eternal life. What it lacks is any meaningful role for God or a Holy Babe in a manger.

"Scrooged" is as "far as some people in Hollywood can go with Dickens," by "domesticating his message and making it more comfortable," said Lindley, who is teaching a six-lecture online course about this 1843 text.

The class, he added, was created for "anyone who loves the story, but doesn't know how to dig deeper into it than what they have seen in the somehow superficial versions that are around. … Some people have a sense that there is something deeper, something moving underneath the surface."

For many, watching "A Christmas Carol" on video is a holiday ritual. These movies usually include the basic story, while ignoring the narration in which Dickens frames his parable.


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New podcast: What are the future news hooks as U.S. bishops wrestle with Holy Communion?

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New podcast: What are the future news hooks as U.S. bishops wrestle with Holy Communion?

Let’s say that, at some point in the future, multimedia crews manage to discover where President Joe Biden was attending Mass on a given Sunday.

As the president attempts to leave, journalists shout an obvious question, something like: "Mr. President! The U.S. bishops are almost done with the final draft of their document on abortion, politics and Holy Communion. Are you concerned about this?”

Recently, Biden responded to a similar question by saying: "That's a private matter and I don't think that's going to happen."

This kind of language, that specific doctrinal issues are “personal” or “private,” has been part of American Catholic code ever since the famous 1984 address at the University of Notre Dame by the late New York Gov. Mario Cuomo. But let’s say — as I suggested in this week’s “Crossroads” podcast (CLICK HERE to tune that in) — that Biden decides to tweek this reply at some point in the future.

What would happen if he said this: “That’s between me and my father confessor, so I will have no response at this time.”

This response would have several implications. First of all, it would mean that Biden is saying that he (a) has a father confessor, (b) that he has gone to confession, (c) that he has confessed his sins, (d) that his confessor has assigned him some for of penance and (e) absolved him of his sins. That last part, of course, could be assumed if Biden is receiving Holy Communion.

Oh, and there’s one implication here: That this is happening with a blessing, to one degree or another, from the bishop in authority over Biden’s father confessor. Ah, there is the main news hook.

The bishop and the priest would not, of course, discuss the contents of the president’s confessions. The bishop, however, could say that Biden’s ongoing actions clashing with church doctrines — linked to abortion, same-sex marriage, trans advocacy or some other issue — require the denial of Holy Communion since these actions are, under Catholic doctrines, a threat to the president’s eternal soul.

After all, as the journalists (and canon lawyers) at The Pillar recently noted:


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New podcast: There's more to Lent 2021 than virtual-ash selfies and giving up (fill in the blank)

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New podcast: There's more to Lent 2021 than virtual-ash selfies and giving up (fill in the blank)

It happened every year that I worked in a mainstream newsroom. Apparently, there was a law somewhere that official newsroom “advance calendars” should include a note about the beginning of Lent.

Thus, an editor would ask me a question that sounded something like this: “So where are we sending a photographer this year on Ash Wednesday?”

This was, you see, the official way to handle Lent and it would be followed, of course, by some kind of sunrise-and-lilies photo when Easter rolled around. There might be an Easter story of some kind, but that was always a problem since the goal was to have the story in print on that Sunday, which meant the story and photograph needed to be done early. It’s so hard to cover a holy day that hasn’t happened yet.

But Ash Wednesday photographs, backed with a sentence of two about Lent, seem to be a news-culture tradition. That reality was the hook — sort of — for this week’s “Crossroads” podcast (click here to tune that in).

Thus, it was easy to anticipate this COVID-19 era variation on a familiar theme, care of Religion News Service: “Celebrating Ash Wednesday in a pandemic? There’s an app for that.”

There are filters that blur “imperfections” in photos and filters that turn lawyers into cats on Zoom.

Now there are filters to help Christians safely display the very visible Ash Wednesday mark on social media.

Many Catholic and other liturgical churches observe Ash Wednesday by smudging ashes on congregants’ foreheads as a sign of repentance and a reminder of one’s mortality. That practice presents a problem during a season when health experts fighting COVID-19 have advised people to avoid touching their faces or coming in close proximity to others. …

In a year when so much of life has been lived virtually, Catholic prayer and meditation app Hallow has also taken the tradition online with an “AshTag” photo filter on both Facebook and Instagram.

That’s a valid story, even if it does fit a now familiar pandemic pattern — lots of coverage of virtual faith in these troubled times, as opposed to a few stories about the creative efforts of analog people to observe their traditions within the parameters of social-distancing guidelines.


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100 years of all kinds of Catholics -- good and bad -- going to confession in movies

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100 years of all kinds of Catholics -- good and bad -- going to confession in movies

Alfred Hitchcock knew a thing or two about complicated thrillers.

Having a murderer confess to a priest -- who couldn't betray this trust -- was already a familiar plot twist by 1953, when Hitchcock released "I Confess." Because of the seal of confession, this noble priest couldn't even clear his own name when police suspected that he was the killer.

Good prevails in the end. Shot by police, the killer makes an urgent final confession to the priest.

"It's natural for a Catholic filmmaker like Hitchcock to see the dramatic potential of confession, with its combination of mystery and holiness," said film critic Steven D. Greydanus, best known for his work for the National Catholic Register. "At the same time, Hitchcock thought 'I Confess' was a mistake, because he thought that his mostly Protestant audience in America just wouldn't get it."

The sacrament of confession is both sacred and secret -- facts known to Medieval playwrights as well as modern filmmakers. Thus, putting a confession rite on a movie screen is a "transgressive act" of the highest kind, said Greydanus, who serves as a permanent deacon in the Diocese of Newark, N.J. (Deacons do not hear confessions.)

"Voyeurism is an important theme in much of Hitchcock's work and he knew that using confession in this way was a kind of voyeurism. … He knew this was a kind of taboo."

Nevertheless, Hollywood scribes have frequently used confession and penance for everything from cheap laughs ("A League of Their Own"), to shattering guilt (Godfather III), to near-miraculous transformations ("The Mission"). In a recent 6,000-word essay -- "In Search of True Confession in the Movies" -- Greydanus covered a century of cinema, while admitting that he had to omit dozens of movies that included confession scenes.

The key is that filmmakers struggle to capture, in words and images, what is happening in a person's heart. The act of confession opens a window into the soul, since characters are forced to put their sins and struggles into words.

"Perhaps the very secrecy surrounding the sacrament of confession was part of what attracted filmmakers to depict it," wrote Greydanus. "Anyone can witness the Eucharistic liturgy, an ordination or a wedding. …

“But what transpires in confession can only be imagined -- which is the cinema's stock in trade. … Often enough, confession scenes have served in movies as a pretext to allow a character to articulate their spiritual or temporal struggles, whether or not any kind of sin is involved."


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