Say Can You See

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Remakes of classics. It is my sense that a classic has earned its place in its own constellation for a reason. Remakes seldom attain the je ne sais quoi of the original, but sometimes I have trouble telling them apart. I like scary movies—the classics anyway. In recent years various directors think they can improve on the masters and some of us get confused about what’s what. So it was that I came to watch the remake of The Hills Have Eyes without having seen the original Wes Craven version. As is typical for remakes, the writing tends to lack the flare that often characterizes the original vision. The story may be similar (in this case I’m only guessing) but more than the names may have been changed to protect—who? I’m afraid I didn’t care for the film. Graphic violence is seldom as effective as suggested terrors, but it can make you a bit queasy nevertheless.

I decided to stay with the movie to see if my thesis of religious elements and terror would become part of the story. In the remake, in any case, the action is set in a nuclear test zone where people disfigured by the radioactive fallout of American nuclear tests prey upon the victims they can lure into their lair. So an extended family is drawn in and very few of them make it out. The pater familias is a man who trusts his gun and has no fear of walking into the dark desert alone. But before he goes—yes! Religion. The mother of the brood, it turns out, is a devoted Christian and insists on praying before the men-folk set out to try to find help for their stranded vehicle. The eponymous eyes in the hills watch them pray and then begin to prey. The confident father says, “I trust my bullets more than your prayers.” (Or something along those lines.)

Ironically (and I can’t believe it was anything beyond coincidence) both dad and mom end up dead—the father in a crucifixion pose, the mother by being shot. Neither bullets nor begging save them from the mutants who seem to live just to cause others misery. The man who trusts his gun dies in a somewhat religious way, and the woman who trusts prayers is the victim of a gun. Now, in a classic there would be some lingering on the reversal here, but the remake syndrome is eager to add gore and grotesqueness to the screen without pausing for thought. The eerie backdrop of a nuclear testing town with mannequins still intact is effective, but otherwise you know to expect Road Warriors-type action in this small, post-apocalyptic world. The fact that even this wasteland supports a moment of prayer, however, demonstrates that fear and religion are never too far from each other.

Book of Eli

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Feeling that it is incumbent on a teacher of Bible to stay current with media presentations of my subject, I went to see Book of Eli yesterday. Not really a fan of violent movies, I was a bit concerned about being subjected to gratuitous carnage, but beyond the expected post-apocalyptic context and its attendant, constant menace, there was not too much to worry about on this score. For several years I have been researching the presentation of the Bible in movies. It is my hope to write this research up into a book one day if I ever land a job that allows such a luxury. Book of Eli will deserve a chapter of its own.

Apart from fundie self-praise fests, few movies present the Bible in such a heroic role as it plays in Book of Eli. Eli, like Jake and Elwood, is on a mission from God: to deliver a Bible to the last repository of education in the United States, namely a famous correctional institution. Along the way Road Warrior-style bandits harass him and Carnegie (a kind of deranged librarian with lofty political aspirations) covets Eli’s Bible, the last in existence. Carnegie wants the Bible because, “it is a weapon” of social control. (All quotes are approximate since I couldn’t take effective notes in the dark.) Eli must keep it because of his mission. Along the way Eli explains why the Bible is important to Solara, a young woman who is drawn to his sense of mission and devotion to the book. Explaining that since the last war, all Bibles have been routinely destroyed and that, “some say it [the Bible] is what caused the war,” Eli lovingly wraps the book in a cloth before secreting it in his ubiquitous backpack next to his machete. At this point I could feel the social commentary pressing hard upon me. The Religious Right would love nothing more than to force Armageddon on the planet so that they might go to their wonderful fantasy-land in the sky. Their misreading of the Bible has caused wars in the past and will likely cause them in the future.

As Eli loses the Bible to Carnegie and continues his mission empty-handed he explains to Solara, “I’ve been protecting it [the Bible] so long that I forgot to do what it says.” Again the social commentary was evident as news headlines continue to push hot-button conservative political issues where the heart has been cancerously eaten from the Religious Right and the Bible as idol becomes more important than what it actually says. When Eli brings his mission to its conclusion, however, the viewer is presented with an entirely positive view of the Bible. It is the symbol of civilization in a world of anarchy and Solara marches off as its acolyte into a hostile world as the sun sets in the west.

What is truly remarkable about this film is that it presents the Bible in a way that would make its study cool again (if it ever was). For those of us who’ve spent a lifetime shying away from telling others that we have spent our lives learning about the Bible, we might now walk into the glaring sunshine and have others step back in reverence for our selfless efforts to benefit the human race. Well, at least once the apocalypse is over.