OF JEOPARDY AND BIBLICAL EPICS

 

The game show Jeopardy is an occasional evening indulgence. Answering correctly, before the contestants, is the big draw, and fun when it happens, but let’s just say that I’m never tempted to audition, except when the Bible is the category. Alex Trebek became the host of the hit game show the year we got married, and since that time it seems the contestants’ biblical knowledge has decreased with each decade.

We have become a visual media culture, learning more from television, film, and streaming sources than any civilization in history. Fewer Americans, it seems, are reading the Bible, but more are watching movies.

That’s why I’m recommending my top five biblical movies just before Easter. I’m not suggesting that anyone can build a solid foundation of biblical literacy, still less doctrine by watching, but we can get the big picture, and some of the major themes. And movies contribute to cultural conversation. It’s always easier to begin a discussion with, “Have you seen …?” than with “Have you read the book of Matthew lately?”

The Passion of the Christ – Mel Gibson’s R-rated (for violence) 2004 blockbuster is not for children, or the faint of heart. It was controversial, but brutally accurate in its portrayal of the final twelve hours before Jesus’s death. The expressions on Jesus’s (Jim Caviezel) face at the beginning and the end capture the conflict with evil, and the hope of resurrection, like nothing else available on screen.

Ben Hur – The 1959 classic with Charlton Heston in the title role was remade last year by husband and wife team Mark Burnette and Roma Downey (The Bible). The new film is shorter, by an hour, and faster paced. But the mid-twentieth century version is truer to the best-selling, 1880, Lew Wallace novel Ben Hur: A Tale of the Christ. The story of revenge and redemption between two adoptive brothers, Roman Messala, and Jewish Ben Hur, plays out in and around the crucifixion and resurrection. The climactic chariot race benefits from better special effects in the newer film, but the 1959 classic won eleven Academy Awards.

Risen –The 2016 film follows the tradition of The Robe and Ben Hur by inserting a fictitious historical character into the Biblical narrative as an eyewitness to events. And while it doesn’t aspire to the epic proportions of those classics, it is a good story well told.

Prince of Egypt – The 1998 animated epic remains one of the most powerful and accessible retellings of the Exodus ever produced. Watch it with your children and grandchildren. It is visually compelling and musically breathtaking.

The Jesus Film – This 1979 film hasn’t won many awards–on earth. Neither has it made much money, but the two-hour long, faithful rendering of the Gospel of Luke has been shown on more screens, to more audiences, in more diverse places than any other biblical film in history. From Bible-less peoples in the Amazon jungle, to Aborigines in the Outback, this film has probably changed more lives, and will win more awards in heaven, than any other. If you want a literal rendering of the most historically detailed Gospel, this is it.

These are just my favorites, included because I’ve seen them. What are yours?

 

 

 

HIGH OCTANE ANGELS

I have a problem with angels. But maybe that’s because the angels I’m talking about are on the take from Hollywood.

You’ve seen them. They show up in film and television with names like “Al,” played by the always nutty Christopher Lloyd in Angels in the Outfield; or “Seth,” (Nicolas Cage) in City of Angels, who falls in love with a human; “Dudley,” (Denzel Washington) in The Preacher’s Wife, who nearly seduces her; and the ever popular “Clarence” in It’s a Wonderful Life. Then there was the television hit, Touched by an Angel some years ago. Often suave, sometimes nutty, and usually cheerful if somewhat mystical, these angels are far too human for me. Yes, they do good things in the movies, and I’m not saying the films are particularly bad, just that their angels are low octane.

The angels I’m used to, the ones I expect to see one day, aren’t anything like the human-ish versions on screen. They aren’t cute, suave, falling in love, or trying to earn their wings. Neither are they funny, except possibly for the episode with Balaam’s donkey, but I bet he wasn’t laughing.

The angels scripture reveals are high octane representatives of heaven.

Angels are, when they appear in human form, on a clear mission to deliver God’s message, protect God’s people, and/or accomplish God’s purpose. Either way, they are not to be trifled with. When they appear in, shall we say, extra-human form they are terrifying: Ezekiel’s angels, technically known as Cherubim, had four faces, four wings, and feet like burnished bronze. Fearsome power is the idea. Other Old Testament angels kill hundreds of thousands of God’s enemies, swoop down in chariots of fire to gather up Elijah, and surround foreign armies to protect Elisha (2 Kings).  We also find them quenching the fiery furnace and closing the mouths of lions (Daniel), or, as in the New Testament, tossing tomb stones, springing apostolic prisoners, and standing, rank upon magnificent, military rank roaring glory to God.

When angels show up, humans fall down — either dead or just frightened out of their wits.

That’s what happened to the prophet Daniel (See 8:15-17) as well as Zechariah, father of John the Baptist. Both men, hundreds of years apart, were stunned by the presence of Gabriel, the being who seems to be heaven’s press secretary in all things related to Christ. Daniel fainted and Zechariah, who though terrified managed to show a little disrespect, was struck dumb by Gabriel until the Baptizer was born.

Real angels are high octane.

So this year, whether you’re watching your favorite Christmas movie, or just having a cup of hot chocolate while gazing at the little angel ornaments on the tree, remember, the beings that announced the birth of Christ shimmer with power and glory. And when he returns, they’re coming with him.

RISEN: Something Good Out of Hollywood

Based on Bible stories made into movies of late, the Nathaniel’s among us would be justified in paraphrasing the dubious disciple’s first question about Jesus: “Can anything good come out of Hollywood?”

Noah, in spite of my initial enthusiasm about it, turned out to be a theological mish-mash and a box office disappointment. The trailers for Exodus: God’s and Kings, revealed such an obvious hack job on the original story that I, along with many others, didn’t waste my time or money on it. Roma Downey and Mark Burnette’s 2015 television hit, AD, also left me disappointed by the middle of the series.

Not so with Risen, the Sony Pictures release now playing in local theaters. Instead of trying to make something more or something different than the original Easter story, Risen follows the tradition of The Robe and Ben Hur by inserting a fictitious historical character into the Biblical narrative as an eyewitness to events. And while it doesn’t aspire to the epic proportions of those classics it is a good story well told.

Joseph Fiennes (Luther 2003) turns in a phenomenal performance as Clavius, the Roman Tribune charged by Pilate (Peter Firth) with insuring that Jesus stays dead, the Sanhedrin remains mollified, the mob remains pacified, and Caesar stays in the dark about all of it. The cinematography is good. The plot is believable, the film is well paced, and even though it’s obvious that special effects were relegated to the shallow end of the budget pool, the script and the acting more than made up for it. Pilate’s cynicism is palpable, but not overdone, as he and Clavius play a high-stakes game of political chess with the equally cynical High Priest. We come away reminded of how quickly truth goes by the boards as the players manipulate the message in a never-ending battle to shape public opinion.

Risen does have a few weaknesses. One actor is glaringly amateurish in the two short scenes he inhabits. It wouldn’t matter if they weren’t so strategically placed. And those of us concerned with fidelity to the biblical text will note a glaring omission in the words of Jesus just prior to the ascension. But these things are minor and offset by biblical faithfulness throughout the rest of the script and an otherwise excellent supporting cast. Watch especially for the drunken guard’s testimony in the bar. That actor should win an Oscar.

Far more important however and ultimately more moving than any of these things is Fiennes’ Clavius. He is utterly convincing as a man’s man intimately acquainted with the brutal parts of life on a fallen planet. Every man who feels the cynicism of Pilate creeping up on him in mid-life will identify with Clavius’ quest for truth. And everyone who watches will struggle with him to reconcile two irreconcilable things: “A man dead without question, and that same man alive again.”