Back in my first exposure to state university life in Wisconsin, I frequently received eager guidance from students on religion in the media. After having taught in a seminary where interest in the world beyond ecclesiastical walls was rare, this exposure to wider interpretation was welcome. One of the movies suggested to me by helpful undergraduates was the then fairly contemporary Stigmata. My interest in horror films was burgeoning again after my nightmarish experience at Nashotah House, so I watched the movie with renewed appreciation for the abuses presented on the part of the established church. I rewatched Stigmata this past weekend and a number of features stood out as apposite for this blog.
As always in movies, liberties are taken with reality. Stigmata presents the Gospel of Thomas as a serious threat to Catholicism. Of course, even the Gospel of Judas made a public splash back in my Oshkosh days, but the great Titanic of the church remained steadily afloat. The contents of the Bible are secure and non-negotiable for the vast majority of Christianity. There is no more room within its black leather binding for further revelations. The movie also presents a woman – an atheist, no less – as being the vehicle for a truth she can’t understand. In the masculine citadel of the Catholic Church she must be silenced, in an overly dramatic way, of course. The message seems to be that religion is unwilling to learn from secular women, even if they bear the truth.
The critics were not kind to the movie, but I found it a strangely religious film. The premise behind it advocates the reality of Christianity, only the Jesus of history is occluded behind a great mask of human tradition. Enamored of power, the church decides what will be revealed to the masses since control is more important than truth. A woman cannot correct the false belief of men, since a masculine god has given manly instructions to a male institution. Underneath it all, however, is a virgin Mary weeping real human blood as half of humanity is simply disregarded by the half that retains its abusive strength. Perhaps the commentary was a little too close to home, even for the (mostly male) critics.