Okay, so I’ll confess having gone to see Puss in Boots yesterday. The movie had been getting good reviews and I’ll admit to really liking the first Shrek movie. The second Shrek movie, with Puss’s debut, was not bad. After that something changed. Anyway, it looks to be an intense week ahead, and I needed a little mindless release. Often on this blog, I mention horror movies and how fear ties into the concept of religion. Since working at Routledge—a publisher noted for its many books on religion and film—I’ve taken a renewed interest in finding the religious imagery in many different genres of movies. This is something I regularly undertook as a religion major in college and beyond, but it is an area of renewed interest in my mature years. So it was off to the theater.
One aspect of Puss in Boots, however, proved a distraction to me. The character of Humpty Dumpty scrambled in my mind with the same off-color image of the egg man in Jasper Fforde’s The Big Over Easy, a book I read this summer and blogged about earlier. In both stories, the egg was not what he seemed to be. A foodstuff with a decidedly darker side. In both stories, however, Humpty Dumpty was somehow vindicated, more a victim than a perpetrator of crime. It is not always easy to be a good egg. In Puss in Boots, however, this is where the religious imagery came in. The fractured fairytale storyline has Puss and Humpty (and Kitty Softpaws) growing a giant beanstalk and stealing the golden goose’s gosling. This is part of a twisted effort at revenge by Humpty; a kind of egg’s Benedict Arnold moment. Well, this is a children’s movie, so nobody is really bad. Humpty repents and sacrifices his own life to save the town. When he falls to his death, a golden egg is revealed inside. Mother Goose flies the golden Humpty up to the castle in the sky, disappearing in a blaze of heavenly sunlight. Life after death, the eternal reward. Heaven, Hollywood style.
Movies often serve as a source for and reflection of social values. Thus watchdog groups keep a close eye on what the silver screen reveals. Puss in Boots passes the test on highlighting the redemption theme. Although he is still a wanted criminal by the end, Puss (as well as Humpty) achieves redemption by making good on all the wrongs he committed against society. Almost sermonizing at points, the movie is another example of how mainstream media ends up on the side of traditional values. A deeper truth, however, may lurk beneath the celluloid. The true hero here is the Spanish Puss rather than the Angelo Humpty (and decidedly red-necked Jack and Jill). The religion it underwrites is, naturally, the civil religion expected by American audiences. Just maybe there is an awareness of social justice here as well.