Ratatouille - Fixing the Soup
Goodfellas - Jimmy's Gang gets whacked (not for the sensitive of conscience/disposition)
Yet as one driven to not only refine an aesthetic sense for film but also to engage it with Christian theological reflection, I cannot merely embrace it for its own sake, a la Oscar Wilde. That a film can be deeply dark yet aesthetically compelling therefore presses the question of whether or not art can be fundamentally construed by Christians as a good part of creation--or whether media that does not communicate some variance on Christian hope must be judged as categorically "not art." The question I therefore place to my "good art" proposition is this: "What place does the depiction of darkness have in an authentically Christian depiction of beauty and goodness?"
The classical answer to this question has been handled to great box office success by the twentieth century mythological synthesizers who have adapted the Christian metanarrative into archetypal conflicts of good versus evil. Whether or not the intentionally set out to tell the Christian story, their work nevertheless betrays heavy borrowing from it. George Lucas and the various adapters of J.R.R. Tolkien and J.K. Rowling have thrilled audiences and stuffed their pockets via powerful re-tellings of the Christus Victor myth.* At their best, they inspire our hearts to hope by stirring our longing for eternal mercy of final justice. At their worst, they reduce the gospel to thrill-oriented storytelling, cheap catharsis of an intractable evil.** Quoth Luther, "On earth is not his equal." For this reason and others I detested the flimsily Dickensian Slumdog Millionaire, which applied Hollywood hope to two-thirds world poverty.
Where, then, is the place for art (film, no less) as a kind of truth-telling that doesn't succumb to the worst excesses of the fantasy epic genre? A strong counter example would be No Country for Old Men--it is utterly devoid of Christian hope or some cipher for it--but the film does tell part of the true story. It undercuts all boasting of human effort as an answer to the problem of evil; analagous to events in other Coen films (including Blood Simple, Miller's Crossing and Fargo), one individual's choice to act nihilistically undermines all attempts at order. Such films*** probe the disturbing realities the great epics avoid entirely: what if we knew of no way to conquer the radical evil of the Emperor, of Sauron, of Voldemort? The twentieth century's great legacy of death on an unprecedented scale looms large over all contemporary attempts to relay genuine, powerful hope through mere storytelling.
Miller's Crossing - "Ethics"
N.T. Wright has proposed one possible way forward. His 2006 sermon "Apocalyptic and Beauty of God" takes the three separate questions of how Christians should think about apocalypse, art and the now-and-not-yet nature of the glory of God and integrates them into an elegant Christian aesthetic. In sum, as the apocalypse is an unveiling of the victorious Christ within the physical world (rather than an elimination of that world by him), as art should not exist to be frivolously pretty but to communicate the deep reality of the gospel, and as we can see that the earth both lacks and contains the glory of God, Christian art must be about the task of creatively communicating the good news that although we know chaos existentially the glory of God is revealed and will be revealed until "the earth will be filled with the knowledge of the glory of the Lord, as the waters cover the sea." (Habakkuk 2:14).
Art happens as Christian revelation when it authentically represents the suffering and hopelessness common to the human experience and then depicts the glory of God or its metaphor amid that darkness. Unfortunately, the state of Christian film is dire and lacking competent examples of even purely sentimental film-making. Our subculture thirsts for the intellectual rejuvenation of latter day poets, not just in film but in all of the arts.
Two secular, Mexican filmmakers released 2006 films which approximated Wright's aesthetic. They both ultimately tip the scale in the direction of darkness and chaos, but both Pan's Labyrinth and Children of Men depict beauty and hope surviving in the midst of chaos. Joss Whedon's Firefly paints a vivid yet stark universe where the makeshift family of the flagship's crew becomes the hold against void and the personification of its meaninglessness, the Reavers. Jonathan Demme's 2008 family drama Rachel Getting Married wrings moments of poignant forgiveness and intimacy from the deeply fractured family web it works so hard to construct. Even Toy Story 3 required a hellish face-to-face with mortality at a garbage dump before allowing peace and happiness for its protagonists. I'm not sure how well all of these make my (or Wright's) point; perhaps it's because filmmakers (more to the point, studios) don't think in this direction.
Serenity - "The First Rule of Flying"
I wrote last year that, to me, "Movies at their most thrilling and important fabricate vital, visceral experiences which involve the viewer vicariously and, sometimes, voyeuristically." Need Christians even demand or expect movies to tell a recognizably Christian story? Is that the best part of going to the movies? The fact that a film can be good even if it is only about a guy driving a car fast and dangerous to get a random package from one side of town to another begs the question. It suggests that while the medium has the potential for expressing the best and greatest ideas and images we can conceive, it can survive and even flourish as pure pulp nonsense.
Coming back to my point about X-men: First Class, if it had been the visually dynamic experience Avatar was, I wouldn't have been lamenting the art house flick I wasn't seeing but rather quite happy to be caught up in the moment. Sometimes, a movie is just a movie, but that doesn't preclude basic standards for quality. In a smaller, yet still prolific class stands the secular art movie, which may actually provoke your brain to grasp for meaning. Smaller still is the number of provocative, artistically-accomplished movies which register as genuinely Christian. But a boy can dream, can continue to hope that the power of film at its best will not forever be disconnected from the power of the gospel.
*As C.S. Lewis has said, a true myth.
**And, as the years have gone by, not so cheap.
***The Coens are simply the purest and most accomplished example, especially in their commitment to laconic agnosticism.