Vote!

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“Remember, remember the fifth of November.” Election day is upon us and my mind goes to V for Vendetta. The movie is about oppressive regimes and, more importantly, people finding a voice. It is a strongly emotional film for me not because of the violence, but because of the symbolism. Yes, V is out for vengeance, but we are all V, having been co-opted into a system that doesn’t seem to have our best interests at heart. At least we can vote. The scene at the very end, where V’s future, alternate universe gunpowder plot succeeds, always leaves me with damp eyes. By virtue of watching many movies, I am not prone to shed tears at what I know to be fiction. But some fiction possesses a verisimilitude that fact lacks. V for Vendetta is one such fictional vision.

I grew up a Fundamentalist Republican before such a combination was de rigueur. I also grew up believing in liberty, an idea that often resonates with those who don’t have much in the way of material goods. At least we have our freedom. By the time I attended a Christian college, I learned the error of my ways. I asked around to find out why America always seemed to get involved with conflicts under GOP administrations. I learned that, in some cases anyway, belief that Armageddon was around the corner motivated such wars. Even some presidents believed, as their religion taught, that the end of the world was nigh and it was their duty to hasten the process. Be careful what you vote for.

As I stood in long lines waiting for a bus out of New York City yesterday, I listened as other passengers wanted to talk. Hurricane Sandy left many people in poor circumstances, feeling the pain that is only alleviated by sharing. They told of devastated neighborhoods where people who hardly knew one another came together, naturally, to help each other. I listened to descriptions of those with power opening their houses and sharing their food with people they didn’t know. It wasn’t because the government forced them to—they did it because it was the right thing to do. When I watch V for Vendetta I don’t cry because I approve of violence; I have been a pacifist since childhood. I cry because the vision of justice prevailing is so beautiful that no other response seems appropriate. With that vision in mind, I am heading out to vote.

Hard to Digest

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Sweeny Todd has never been one of my favorite shows, but the dark humor and gratuitous bloodshed made it seem somehow appropriate as a November movie after a hurricane. I’m referring to the Tim Burton movie, of course, and as I watched it this time I noticed a few religious themes that I had overlooked in previous viewings. The story is not complex: a barber is robbed of his young wife by a powerful establishment cad and determines that the time has come to exact his revenge. Along the way he rents a room from the hapless pie-maker Mrs. Lovett on Fleet Street and puts his murderous revenge to work supplying her with meat for her pies. The song where they hatch their nefarious plot, “A Little Priest,” is filled with innuendo and even a little social commentary. As the schemers look out at the crowds of London, several of their potential victims are mentioned as clergy.

When Todd asks Lovett if the priest is good she replies, “too good at least,” noting that its only fat where it sat. “Not as hearty as bishop,” nor “as bland as curate,” Todd observes. Mistaking a grocer for a vicar because it’s “thicker,” the duet eventually warble that the friar’s drier, but overall the clergy are “too coarse and too mealy.” Stephen Sondheim and Hugh Wheeler are not theologians, naturally, but it is noteworthy that the only role the clergy play in this film/musical, which is ultimately about social justice, is as fatty meat. When Benjamin Barker is wronged, the clergy are never mentioned as recourse or balance to a corrupt official. The church is simply establishment, a comfortable and expected part of the environment.

Johnny Depp portrays a mostly believable sociopath, interestingly reversing his first big screen role in Nightmare on Elm Street where he is the victim of a psychopath with razors for fingers. Edward Scissorhands, another step on the evolution from victim to perpetrator, found Depp with blades for fingers. In Sweeny Todd he declares with a straight razor held aloft, “at last my arm’s complete again!” The pattern here is a sad but familiar one. The victim who finds no redress in society adopts the role of the vigilante or the perpetuator of victimization. Who might step in to interrupt this cycle if not the clergy? But to return to “A Little Priest”: Todd observes that what the world terms business as usual is really one man eating another (this is, after all, patriarchal Victorian London). This may be the piece that at last makes sense of the puzzle. What is truly diabolical is not one man’s revenge, but the system that insists all play by the rules of genteel cannibalism while persistently calling it civilization.

Puny Windstorm

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Nothing says wrath of God like a hurricane. Those of us along the Mid-Atlantic coast of the United States are hunkered down wondering what’s to become of daily life when the storm is over. Responses to the situation have been, well, religious. Store owners spraypaint prayer-like sentiments to Sandy on their plywood protection, urging the storm to be kind. Interviews are laced with language appropriately placating to a deity. The storm named after a mythical monster has become a god. Such responses are not limited to Hurricane Sandy, of course. In fact, when death is expected pleading with the powers that be is routinely recognized as Elizabeth Kübler-Ross’s bargaining stage of the dying process. We always hope that forces stronger than us might be willing to make a deal, cut us a bargain. The storm, given a human name, is personified as a deity. It is such a very human response to any phenomenon that forces us to realize just how small we are. Our egos may reach to the ends of the universe, but in reality we are fragile, scared children begging for the protection of a supernatural parent.

Last night as we were sitting here waiting to be hit, my family watched The Avengers. The juxtaposition of deities and heroes in the Marvel Universe fascinates me, and, of course, the movie has to explain that Thor and Loki are really only aliens perceived as gods. Compared with their human companions, they are immeasurably strong but they do not decide the outcome of the cosmic battle that devastates New York City. No, it is Tony Stark who flies the atomic bomb through the portal to the invading ice giants, saving humanity. Thor is too busy battling flying metal dino-whales. Humanity is responsible for its own salvation. The gods may help, but they alone cannot deliver. Against his protests of divinity, the Hulk bashes a protesting Loki into the floor of Stark Tower with the grunted huff, “puny god.” His only line in the movie. The portal, swirling hurricane-like over Midtown is forced closed and human technology, in the form of Iron Man’s admittedly cool armor, saves us all.

Hurricanes remind us that our technology can’t save us all. The advance warning may very well have spared many lives by the time this all blows over. As early as Thursday I was wondering if work would be called off or if I’d have to battle the rain and winds and storm surges to get to my office (which would have provided an awesome view of the final battle in The Avengers, facing, as I do, the Chrysler Tower and Grand Central). We have been warned. Our technology, however, can’t stop the force of the storm. Sandy may not be divine, but she is massive—much larger than any person who believes that there is some trace of divinity within him or her. As I sit here listening to the wind and the rain, I wonder what the weather is like in Asgard today.

Buyer Beware

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Pain, it is said, has a wonderful way of focusing the mind. So when I woke up in what can best be described as a body position used for extras in the movie, Twister, I took a few aspirin and got on with my life. I had purchased non-refundable tickets for a campus visit, and capitalism is nothing if not unsympathetic. The lower back pain was fine when sitting, or standing. Try anything in between, however, and you’ll learn the real meaning of reading the riot act. Once off the train—slowly, slowly—I was fine again, until I had to sit down. The next morning, facing a day of meetings (why is everyone’s office on the fourth floor? Why do Brownstones still lack elevators?), I decided I’d better pop into CVS for some meds. It was with considerable irony and not a few groans that I noted all the products for back pain were on the bottom shelves. The condoms, in the same aisle, were right at eye-level. Sitting on the floor, pondering the relative merits of chemicals of which I’d never heard, I thought about what we take for granted.

Parents and guardians are our first teachers. Among those early lessons are often the religious ones. Recently speaking with both seminary professors and pastors, I have heard the common refrain that church membership is declining and the number of younger people listing themselves as religiously unaffiliated is growing. I noticed this in my teaching outside the seminary setting; quite apart from students of other religious traditions, many undergrads took my class knowing nothing at all of the cultural matrix of Christianity in which they’d been raised. It is also true in a consumer mentality that one shops for religious experiences just like one shops for backache medicine. You go with the one that works for you. Few bother to ask if they agree with the theology, after all, Methodist = Baptist = Presbyterian = Lutheran in many people’s minds. Doan’s or Bayer? Take your pick.

Now that Dark Shadows has been released for home viewing, another component may be added to the equation. We pass on what we value to those we love. While the writing for Dark Shadows leaves quite a lot to be desired, there are a few memorable lines. Angelique, you may recall, cursed Barnabas Collins for unrequited love, turning him into a vampire. When he laments to Elizabeth Stoddard that Angelique hates him, she replies, “No, if she had hated you she would have merely killed you. A curse takes devotion.” Passing on our beliefs, perhaps, somehow ties into all this. As believing creatures, perhaps we each need to find our own solutions. My only fear is that when I find the right remedy, it may very well be on the bottom shelf.

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Seeing the Dark

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The Dark may be a movie that tries to do too much, but it does illustrate an idea that has been lurking around my head for a few years. That which we fear and that which we worship are never far apart. Since The Dark was pretty much panned, in brief it goes like this—a separated couple gets back together in Wales to draw their troubled teen daughter back. While there she drowns and the ghost of a girl from the past shows her mother how to get her daughter back. The film is notable as being the first I’ve seen that could make sheep scary. Skulking in the back story is a minister, “the shepherd,” the father of the ghostly girl, who started a new religion over the ocean cliffs of Wales half a century ago. When his daughter died, he convinced his flock to leap off the cliff to reach a place that is a combination of Heaven and a Welsh mythical afterlife called Annwyn. The shepherd, however, is really using their sacrificial deaths to bring his daughter back from the dead. The story is complex and the darkness of the narrative is at times overwhelming, nevertheless, it is a showcase of how religious conviction can be more frightening than consoling at times.

Some years back I researched the Welsh mythology of the Mabinogion. Having been a student of ancient religions, however, I knew there was only so far I could go without the lexical support of learning Celtic languages. (This is a fact of mythological study often overlooked by popular treatments; if you really want to get what is going on there is no substitute for reading texts in their original language. I was too busy learning Ugaritic and the time, and struggling with Akkadian, to pick up Gaelic as well.) Nevertheless, the mythology struck me as particularly compelling. Some of the roots of the Arthurian legend lie deep within this lore, and although often uncredited, it still influences our society today. Mythology is simply religion dressed to go out for the evening. The concepts form the basis of much that we still believe and that which still has the power to terrify.

Although the critics didn’t care for the film, the dense interweaving of misplaced religious devotion, Welsh mythology, and basic human longing make The Dark in many ways a classic horror movie. It may be hard to find the characters sympathetic, but they are in some ways archetypal. With a sinister minister driven by personal loss turning to pagan folklore to bring his daughter back, we have a secondary character who curses the fate of an all-too-human condition. The concept of sacrifice becomes a tool for selfish gain rather than a means of helping others. Possibly those who panned the movie did so without an appreciation of the mythology that pulses just beneath the surface here. And while sometimes horror films are simply puerile escapism, at other times they should give us pause to think, and maybe even learn.

Holy Wolves

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Nothing creates the mood for a werewolf movie like reading a book about real werewolves. The Howling was released the year I was finishing high school. At that time my humble circumstances allowed for very few visits to the movie theater, and certainly never to see horror films. I grew up watching B-films in black-and-white on television, but paying extra to see what was slightly unseemly in a theater stretched the limits for a good Christian just a bit. College was on my mind, and it was while in college that my horror film interest blossomed. All of which is to say, I’ve never seen The Howling before. I remember the movie posters, but the film had to wait until werewolves clawed their way back into my mind. Most of the classic movie monsters have their basis in religion, but The Howling doesn’t really delve into the origin of werewolves as much as it wonders what to do about when their numbers start to become a problem. Those who know about such things note that the special effects were cutting edge for the time, but CGI has spoiled us all.

Although the film doesn’t inquire into werewolf origins, it still gives a nod to the religious. The film’s werewolf population lives in a colony that has a “ritual center,” and since the cover for the colony is a retreat center for a psychologist’s patients, we find seekers amid the crowd. One of the inmates, Donna, explains that before joining the colony she had tried all the new religious movements, without success. And the one character who knows how to dispatch werewolves runs an occult bookstore in Los Angeles that is visited, in a shock-comic moment, but a pair of nuns. The message, so typical of the early 1980’s, is that all religions are just about the same. People are seekers, and any religion will do in a pinch.

In a way, this downplaying of the religious element in werewolves is not unexpected. As society was becoming more obviously secularized in the sixties and seventies, religion was becoming just one of many options available on the path toward self-fulfillment. In The Howling, becoming a werewolf was another. Ironically one of the old-timer werewolves laments the loss of “the old ways.” The werewolf colony lives on cattle that are farmed as politically correct sheep for the wolves, and it just doesn’t satisfy. The same might be said for religions. Accommodations, so necessary to survival in an evolving society, inevitably change the old ways of religion. Religions themselves transform over time. The Howling may not be scary, or believable, but it does serve as a kind of paradigm for worldviews that are undergoing transformation. Shifting shape, after all, is a sure symbol that one is still alive.

Country Roads

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It may be a little too early for winter, but scary movie season has begun in my personal calendar. This weekend I watched Wind Chill. Although critics weren’t always kind to the movie, and the ending is somewhat predictable, it is one of the more decidedly creepy films I’ve seen recently. Since it is set in Pennsylvania there was a bit of a homey touch to the terror. I have driven on similar roads to that in the movie, during snowstorms, and that is one of life’s true terrors. What makes the movie so frightening is its ambiguity. Put a teenage girl alone with a guy in a car on an isolated road and you’ve already got enough elements to make your spine tingle. It becomes clear that the guy hasn’t been honest with the girl all along (the characters are never given names in the movie) and as they spend the night in the broken-down car reality and nightmare become increasingly difficult to parse. Of course, religion plays a role in the show.

The guy is giving the girl a ride home for the holiday break. He’s been watching her, a little too closely, for some time although she doesn’t know that until it’s too late to turn back. As they fumble for conversation it turns out that he is an “Eastern Religions” major and they met in a philosophy class. This just keeps getting scarier and scarier! After they break down (spoiler alert!) and the ghosts start showing up, we learn that some of them are priests. They had come to this haunted road to give the last rites to some accident victims before freezing to death in the poorly insulated cells in a strange little monastery on the hill (this is Pennsylvania, remember). As the night wears on we find the priests condemning the bad cop to a fiery death before light dawns and the girl finally finds salvation.

Of course, this is a variation of the old urban legend of the teenage couple out parking when something scary happens. Having everything in half-light and through smeary, foggy windows makes it more difficult to perceive what is actually going on. A lying religion major, priests complicit in a deserved fatality accident, and Nietzsche’s eternal recurrence give the film a little intellectual heft among the muted special effects and bleary-eyed confusion as the night goes on. Morality is on trial here. Although not the most profound of films, Wind Chill deserves some credit for bringing religion and horror to the same remote location and having them trade cards in the dark of night.

Longer Nights

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Nothing accompanies the slow decent into winter like scary movies. Now that autumn is officially here, it is time to look for the religious motifs in frightening movies again. Perhaps it is time to join Netflicks, because when it comes to my own movies I have mainly choices among bargain basement films I’ve picked up over the years. Over the weekend I watched one of them. John Carpenter’s Prince of Darkness is the second of his apocalyptic-themed movies, following on the remarkably creepy The Thing. (This is one of the few remakes that manages to outdo the original in just about every way.) Prince of Darkness, however falters almost from the beginning. I do appreciate a movie that is straightforward about using religion as the source of fear, and one that even has a character who is a graduate student in theology! Apart from the priest and street people, all the ill-fated characters are academics—professors and grad students of theoretical physics, the sciences, and our one, lone theologian. The plot revolves, literally, around a swirling green liquid in a decrepit church, which is the Anti-Christ.

Although the trappings are all here for a truly frightening experience, Christianity doesn’t really lend itself to a frightening mythology. To get to something truly tremendous, Prince of Darkness posits a kind of gnostic anti-God who is the father of Satan. The persona is evil writ so large that it is simply not believable that a corroded screw-top jar is able to contain him. For anyone who’s studied history or anthropology, placing the date of the Ball Mason jar back seven million years ago sounds like random guesswork. Homo sapiens sapiens weren’t even around then, making one wonder why God thought of a jar to trap the viscous Anti-Christ millions of years before the “fall” necessitated a regular Christ. The Bible appears, in transmogrified form, as an ancient book of spells that when translated sound suspiciously like the good old King James.

The movie does have its creepy moments—abandoned churches are scary; even fully functional ones can be remarkably spooky at night. It is difficult to accept that a priest would go to a physics professor before consulting his bishop, but then we have to prevent this movie from becoming just a watered-down Exorcist flick. Having Alice Cooper appear as the leader of the homeless minions was a nice touch, in any case. Since we are all still here, the movie ends predictably enough, with Satan’s Dad being stopped before entering the world. It does, in a de rigueur metanarrative, involve a self-sacrifice, albeit not a virginal one. And for the surviving handful of academics, life goes on as normal the morning after. Perhaps evil was blown too large to be believable here. Enough human-sized diabolism exists to frighten any reasonable person. And autumn is only just starting.

Mermaid Missionary

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Last summer I was invited to address a church in Princeton about Christian themes in the movies. Back in my seminary days I often presented biblical material at adult forums, but my interest in religious themes in movies has grown over the years. I don’t claim to be an expert, but I have watched secular movies with an eye toward religiosity since I was in high school. The day of the presentation followed a recent viewing of Pirates of the Caribbean: On Stranger Tides. Although I’ve posted on it before, that particular movie is among the most heavily freighted with Christian themes of any I’ve seen. Now that I’ve had a chance to watch it again on the small screen without the distractions of getting home through traffic afterward, I would redouble my assertions. The very premise of the movie—the hope for eternal life—is a decidedly Christian refrain and the pirates, who wear their sins on their sleeves, are eager to attain it. The missionary, mentioned in my previous post on the film, serves as a kind of foil for that theme, insisting that all souls can be redeemed. Except, he decides, Blackbeard’s.

The reason that Blackbeard falls out of the missionary’s personal book of life is his mistreatment of a mermaid. Now the swarming, man-eating mermaids are among the most memorable images from the story. One has to be captured to unlock the magic of the Fountain of Youth, and the victim happens to be the missionary’s mermaid. In a Florence Nightingale moment, the two different species fall in love—celibate preacher and heathen, mythological creature. An odd couple indeed. Carried in a glass coffin filled with water, the mermaid also needs air to survive and the heartless pirates don’t really much care. To save the little mermaid from asphyxiation, Philip shoves his Bible into the gap he breeched between coffin and lid, saving the fishwife’s life. Talk about conversion!

When the glass coffin breaks, spilling all the water, the mermaid is reborn as a human. Echoes of Splash come to mind here, as well as Disney’s earlier effort, The Little Mermaid. The transformation in this case, seems spiritual as well as physical. Syrena, whose very name invokes the classical sirens, is the one who delivers the magical chalices (communion, anyone?) to Jack Sparrow to save the life of Angelica, or, more likely, to bring Blackbeard to an end. Our busy mermaid, now transformed again to her fishly form, saves the injured missionary by converting him to her way of life under the waves. There are shades of Lovecraft here as well as a reversal of Ariel’s fate in Little Mermaid. Although critics were harsh on this movie where a comic character now takes on a serious role, I still find it compelling. Nearly all the main characters undergo transformations as the story unfolds and whether heathenish or not, almost everyone ends up a better Christian of one sort or another.

Last Call

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A believer in equality across media, I decided to balance out my recent viewing of The Last Woman on Earth with its chronological sequel, The Last Man on Earth. I have seen I Am Legend a time or two, but I have not yet read the Richard Matheson novel. Knowing that the first cinematic attempt at the story was the Vincent Price version, I was curious to see what the last man and the last woman had in common. Not surprisingly, it was a church. The story has been around long enough that spoiler alerts are superfluous, so here goes: basically, vampires have taken over the world. Somehow Robert Morgan has survived and spends his days hunting vampires and whiling the nights away with jazz and booze. As the opening sequence rolls, the camera lingers on a church where the marquee reads “The End of the World.” Of course, in a quasi-literalist sense this is true. Robert is the only non-infected person left. He is eventually located by the infected-but-inoculated crowd and chased down to be staked to death at the altar of a church. The culmination is strikingly similar to The Last Woman on Earth where the final scene also involves a death at the altar in a church.

The noticeable difference, however, revolves around gender. There is very little in the way of sexual suggestibility in The Last Man. Even the scenes of Robert with his wife are chaste and emotional distant. The appearance of Ruth does not even tempt him after three years alone. The Last Woman, however, revolved precisely around this axis—one woman, two men. The sexual tension is the fuel that moves this entire movie along. Of course, the 1960s became the decade of the sexual revolution, but even so the female is decidedly an object in Last Woman. Even in The Last Man, the woman leads to Robert’s death. She was sent to betray him, and although she changes her mind and attempts to save him, it is in vain. Robert dies in her arms. This fear of female power has never dissipated. How many women have been elected president since the 1960s?

While maybe not the heart of the matter, religious constructs may be the lungs or stomach of the situation. Although current religious thinking often insists on equality of the sexes, a tremendous cultural freight placing women in an inferior status continues to weigh heavily on our cultural mores. The largest Christian body in the world still denies women access to the priesthood. Even the idea of denying access underscores just how deeply this sentiment runs. The movies of the early 1960s had neither the budget nor the cultural support to suggest that things should change. Indeed, in both Last pictures the message was that the world had ended already—why bother trying to change anything at this late stage? The final shot, the stolid interior of a church, underscored the message: the status quo has the sanction of the divine.

Magic Bibles

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With autumn not far down the road, my mind turns to scary things. Actually, it is that way quite a bit of the time. Nevertheless, movies about farms are often the setting for the creepy—the sense of isolation, the sharp implements farmers use, the rustling of the drying crops in the wind. A couple years back I watched The Messengers. As a horror film it had a number of good scares, but the menace always seemed somewhat restrained. Nothing profound happens, and it is a film fairly easily forgotten. It was a rainy Saturday afternoon and The Messengers 2: the Scarecrow suggested itself to me. I began watching in an ambivalent mood, but when the first scene began with the protagonist (whose name I’ve forgotten) dropping his Bible on the porch chair as he loosens his tie to work on a derelict water pump, I was curious. When his wife arrives home and asks why he left church before it was over, my interest grew. This direct-to-video prequel turned out to be a cut-budget horror flick based squarely on a religious parable.

In a faustian moment of abandon, and at the advice of a jocular neighbor named Jude (Iscariot, anyone?), our hero erects a scarecrow to try to improve his lot (literally). To give credit where it is due, the scarecrow is distinctly disturbing. The scene of John (okay, I looked it up) nailing the scarecrow to the cross is clearly a crucifixion scene, and the blood that will later appear at the foot of the cross bears this out. Before he realizes that the scarecrow is evil, John hears ghostly children singing in his cornfield. The song is “Jesus Loves Me.” There is a strong fertility goddess theme running through the film and when Jude reveals that his wife has a magic book that explains all the benefits of the scarecrow, John decides to cut it down. The scarecrow, predictably, resurrects.

Meanwhile, John’s Christian family thinks he has gone insane. Or worse, backslidden. As he tries to explain to his wife what has happened, John shows her the magic book and she insists “It’s just your old Bible,” and it is. Heathenish occult instruction transubstantiates into Christian scripture. It is tough to tell one sacred writing from another. For cut-rate horror fodder, this is wonderful commentary on religious sensibilities. Although straight-to-video movies are not high art, and will never receive academy award nominations, they do reflect popular religious beliefs. Scholars are now in search of such beliefs in ancient societies since “official religion” almost never reflects what actual hoi polloi think. Lived religion seldom conforms to the intricacies envisioned by religious founders, and yet it is out there on the Internet for all to see. Maybe the messengers in this film are not the crows after all. The point of the parable? Stay true to your Christian upbringing or else the scarecrow will get you.

Life After Mirth

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Who lives in a pineapple under the sea? In this era of fast-paced technological change, I’m probably displaying my terrible penchant for the passé when I confess to having watched Spongebob Squarepants with my daughter. I even went to the theater, back in Wisconsin, to watch the much hyped Spongebob Squarepants Movie. We eagerly awaited its release on DVD. Well, maybe not eagerly. In any case, after repeatedly watching it for several months, it was shelved and forgotten. Until recently. Playing archaeologist in our apartment, I sometimes unearth artifacts that have been hidden since our hurried and harried move from Wisconsin to New Jersey. We have never really fully unpacked since leaving Nashotah House, and opening a dusty box in a corner can feel like Christmas sometimes. Or, maybe you just discover the Spongebob Squarepants Movie.

It was a rare three-day weekend. School was about to start, and the commute to work would begin to take longer now that the leisured class had to admit to summer’s end. A little silliness seemed just the prescription I needed to face the work week. A little softness before hard reality.

I have noticed for several years now that American movies (and this may be true of movies from elsewhere, but I can’t say for sure) frequently make use of the death and resurrection theme. I suspect that a country that identifies itself so closely with Christian ideals finds this reiteration reassuring. Sure, the scenario is cathartic on a very basic level, and yet, it lies at the very heart of a central Christian belief—death is not the final word. So as Spongebob and Patrick are laid out on the drying table in Shell City and the water vapor rises from them like their departing souls, the viewer is left with a desiccated porifera and echinoderm and a profound sense of loss.

Of course, resurrection is right around the corner. The fire alarm goes off, showering down life-giving water from above, and our stars pop back to life. Resurrection in nature is limited, by appearances, to plants. With the annual cycles of death and rebirth, an individual plant may attain that for which animals only hope. This is a most robust religious symbol and movie viewers would be bereft without it. Even if the next time you see a sponge is when using it to clean the toilet, remember that resurrection crops up in the unlikeliest of places.

Puppet Master

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Usually I resist mentioning books I’m reading on this blog until I have finished them. It is probably because of some misplaced Protestant guilt at taking a small measure of undeserved satisfaction at claiming an achievement that I haven’t legitimately earned. Or maybe it is my innate fear that the author will say, on page 200, “by the way, everything before this is wrong.” In any case, sometimes I forget the important initial stages of a grand argument by the time I reach the final chapters, neglecting any ideas that may have arisen along the way. I just started Victoria Nelson’s The Secret Life of Puppets. I read her Gothicka earlier this summer, and couldn’t wait to get started on Puppets. Besides, when was the last time I saw an academic book with a back-cover sound-byte by Neil Gaiman?

The idea that is so compelling in The Secret Life of Puppets is that in the modern era religion and art have reversed roles. That is to say, people tend to turn to literature (and movies or other media) to discover a sense of transcendence—previously the bailiwick of religion. Religion has transformed into the receptacle of literary imagination instead of remaining the inspiration for it. New Religious Movements grow out of fictional sources—consider Scientology or Jediism or the religions growing from Avatar. But the connection runs to even more profound depths. Quoting a screenwriter she met, Nelson points out that horror movies are often the only genre of film in which God comes naturally into the conversation. Elsewhere God-talk feels high-handed.

Religion has become a kind of fiction while fiction writers preserve the prerogatives of the divine. We suffer from repressing our intuitive way of knowing. Perhaps it is only logical that I select an example from science fiction here. Since the late ’60’s the figure of Mr. Spock has stood sentinel over the neurosis of the flawlessly logical. Just one glimpse and we know this is not homo sapiens sapiens’ behavior. We think with both halves of our divided brains. Scientists sometimes commit the oh so human fallacy of supposing evolution is robbing us of passion. Falling in love would be a lot less enjoyable if it made sense. No, we have not outlived our need for the gods. I think Neil Gaiman would back me up on that.

Nine Lives

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A warm and wet holiday weekend is a good time to watch movies. Since my daily work schedule leave scant time to view anything from most Monday-to-Fridays (and it would claim even more if I’d let it), relaxing often involves watching. I first saw Cats as an ambitious stage production for a local outdoor theater some years ago. Andrew Lloyd Webber has acute talent when it comes to mixing show tunes and popular music; so much so that even a vague storyline will do to carry a show. Cats, of course, is based on a set of children’s poems by T. S. Eliot—Old Possum’s Book of Practical Cats. There is no narrative, and they show’s emotionally charged hit “Memory” had to be culled from among Eliot’s other poems. Nevertheless, the musical, now long off-Broadway, exists in a film version that is heavily endowed with religious themes. This weekend I watched it for the n-th time, and each viewing brings out new nuances.

The “story,” such as it is, has two very basic events: Jellicle Cats choose who can be reborn on the night of the Jellicle Ball, and Old Deuteronomy, the patriarch of Jellicles, is kidnapped (cat-napped?) and must be recovered before the choice can be made. The vignettes feature cats dealing with loss, love, and crime. The character who resonates with many viewers is Grizabella, the glamour cat. She is the has-been who sings “Memory,” the cat who was somebody before her fame and fortune faded to a tawdry existence among questionable society. The musical is about transformation, however. Transformation is a religious theme, the desire we have to be something more than we are, to transcend the hand life has dealt us. Now, I’m no theater or film critic, but I have to wonder whether the obvious fades and duets of “Memory” point to Grizabella as the older but sadder version of the young and lively Jemima.

Certainly as the finale builds, Grizabella is chosen to be reborn and is sent to the Heaviside Layer, but the camera keeps coming back to Jemima. She is often framed in the center and the suggestion is made that the new life has already begun. Religion thrives on transformation. I suppose that is the reason I find it so ironic that in politics religion, Christianity in particular, is championed as the pillar of the status quo. Whether they are new or old, religions serve no purpose if they do not challenge the “business as usual” model of the secular world. Perhaps that’s why successful artists such as Andrew Lloyd Webber thrive—they can pack theaters of seekers weekend after weekend, even for decades sometimes. Even those of us watching on the television at home click the eject button with a sense of hope that seems possible only on a holiday weekend.

A stray Jellicle cat?

Ring

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Absence of evidence is not evidence of absence. So goes a trite little statement meant to calm the fears of new students of biblical studies who worry that the historical record for biblical events is so sparse. The professor can head off many confrontations by declaring that such-and-such an event could have happened, but if it did it left no mark on the historical record. As I was watching the Japanese movie Ringu last night, I wondered about the apparent absence of religious imagery or themes. I am fully aware that not all horror movies have religious components, but the juxtaposition of religion and fear is so common in the western world that it often shows up in scary movies. I wondered if this translated to other cultures or not. Ringu is a decidedly creepy ghost story that creates considerable tension with little gore and not much in the way of special effects. The social commentary is evident even without the benefit of first-hand knowledge of the culture. The paranormal pervades the film.

Christianity is the matrix of many scary movies made in a North American, or even European, context. Although I have read about Buddhism and Shinto, and even occasionally taught courses on “World Religions,” my knowledge of eastern religious traditions is admittedly still quite basic. I can usually spot a biblical allusion a country mile away, but subtleties of foreign religions are harder to discern. Although many religions coexist in the United States the overall context is still Christian—there can be no doubt for anyone who follows politics. Japan is, like America, largely secular. The religious base, however, tends to involve both Shinto and Buddhism and I’m not sure which, if either, forms the recognizable “religious” basis of the collective consciousness. In many ways “religion” only applies to the Judeo-Christo-Islamic model. Much could have been transpiring in Ringu that I simply missed.

After the first mysterious death in the film a short sequence of a family in mourning is shown. Clearly this is what we in the western world would consider a religious context. The decision to try to calm the avenging ghost by uncovering her murdered corpse also conforms to what we might term religion. The fact is, these are very human concerns. Religions throughout the world treat death with a religious reverence since it is the great mystery of the living. Religion frustrates many scientists just for the fact of its mysteriousness. So, does Ringu revolve around religious fear? I don’t know. With the karmic implications of the story-line I would suggest that maybe it does. I’ll remain agnostic on the point, however. The same goes for the absence of evidence is not evidence of absence. Is it or isn’t it?