Not Your Grandma’s Moses

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Exodus Gods and Kings

Exodus: Gods and Kings is, in many ways, a startling movie. It didn’t leave me with a strong impression of profundity, but it did make me a bit reflective. The media hype about God as an eleven-year-old boy proved to be merely hype. In fact, the boy deity was one of the most intriguing characters in the film. The role was played respectfully, and God, like a good Englishman, favored his tea. There was nothing comedic about it, however. More troubling was the agnostic Moses, à la Clash of the Titans with its unbelieving Perseus. Moses, even after meeting God, comes across as having little interior life. He hides in a cave and builds an army of terrorists making him seem like Moses bin Laden. He conceals himself while innocent Hebrews are hanged for his crimes (and did they even hang people in ancient Egypt?). When a great storm brews over Memphis, however, it is with a sense of wonder that we ponder at an eleven-year-old doing all this.

The movie plays lightly with the scholarly “explanations” that used to be doled out in seminaries about how one plague led to another. In fact, the character called “the Expert” in the credits is shown lecturing the Pharaoh on the causation scheme of clay churning up in the Nile turning it red, and killing the fish which in turn drove the frogs from the toxic water, but when they died flies came along and the flies spread disease. Then the Expert is hanged. Not so subtle a warning to biblical scholars. In fact, there seems to be a science behind much of the movie that makes miracles less acts of God than acts of nature. Even the drying of the Red Sea is understated. Its return is reminiscent of the Christmas Tsunami of 2004. God is sometimes not there when you’d expect a deity to care.

On the matter of caring, for an age of nones who have concerns for equality, the film was thin on women’s roles, making even the Bible appear to foreground them more. Sigourney Weaver—great in any context—seems only to be there to wish Moses dead. Even Miriam is given scant lines in the movie and no role in the Exodus itself. In Prince of Egypt she at least led her famous song. Zipporah is lovely but shows no sign of being as handy with a flint knife as Exodus makes her out to be. A woman of action. Miriam’s quick thinking saved the infant Moses. Overall, however, the Bible is a guy’s book, and Exodus is a guy’s flick. Opening with the battle of Qadesh on the Orontes is a way to draw men to a Bible movie. Lots of slashing, gashing, and charging horses. And the splendor of Egypt, filmed in Spain and the Canary Islands. Some miracles, it seems, are even impossible for CGI.

Alien Religion

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Alien3

Despite my interest in aliens, my viewing of the Alien movies has been tenuous at best. The image of what looked like an egg hatching a green sun over a particularly badly formed waffle always brought the tagline “In space no one can hear you scream,” to my juvenile mind. When the original movie came out in 1979, it seemed too scary for a kid in high school. I first saw Aliens (part 2) when living with a friend after seminary. He explained to me the missing gaps left from never having seen the original, and I was impressed by how Sigourney Weaver pretty much took on the alien queen single-handedly. I was still too young, however, to realize that there’s always room for an alien or its egg to attach itself inside any spaceship or escape pod. You can never really get rid of the things. I finally saw the first installment some ten years later, and it was clear that, as in nearly all series, the first was the best. Ridley Scott’s films take considerable energy to watch. No one seems capable of matching his dark moods and sense of a hopeless future. I left it at this state for another decade, until recently reading that Alien 3 marked the culmination of the “theology” of the series. Over the holiday break I decided to find out if this was true.

Ripley, who can never get a break, finds herself the sole survivor (again) on a prison-colony at what used to be a lead ore refinery deep in space. While the company had abandoned the facility, a group of inmates who had formed a religious order decided to remain. Having grown up in a refinery town, so far I’m on board with the story. Separated from society, from women, and from temptation, the prisoners are a fundamentalist sect that would seem to fit well into the woods of Wisconsin. Ripley threatens their delicate balance of celibacy, and although not a virgin she ends up conceiving an alien in a Madonna-esque way, not even knowing how she became pregnant. When she decides to incinerate herself rather than allow the alien to be born, she falls into the fire in a cruciform dive just to drive the point home. Before her dive into hell, however, Ripley tries to motivate this band of incarcerated monks to fight the alien. When they say the company will save them, she responds, “What makes you think they’re gonna care about a bunch of lifers who found God at the ass-end of space?” Again, echoes of Wisconsin.

Doubtless, my experience of the movies has been skewed by my own experience. Still, Alien 3 holds to a pattern that emerges fairly often in movies with a strong horror theme—religion is the progenitor of terror. The prisoners’ religion is described as “apocalyptic,” and it frequently appears that in movies where a civilization is on the brink of collapse, religion awaits to greet the survivors with open arms on the other side. In the horror genre, this is often a cold, clammy comfort. Although religious elements were largely lacking in the Ridley Scott and James Cameron episodes, I do hear distant echoes of Moby Dick here from the very beginning. The dark alien, like the white whale, is elusive and destructive and does not relinquish its hunt until Captain Ahab, or Lieutenant Ripley, is dead in its grip. And since Alien Resurrection awaits in yet another sequel, like the white whale, the alien never truly goes away.