Writing on the Big Hollywood blog, Dallas Jenkins asks the question: “Why are Christian Movies So Bad?” Jenkins, a filmmaker and the son of “Left Behind” novelist Jerry Jenkins, points to a number of telling reasons for the glaring deficit in artistic accomplishment, what you might call the dreck factor, that is evident in so many films aimed at the faithful. Jenkins’ critique points to something we’ve been talking about at Acton for some time: the need for conservatives to understand and master the art of narrative, not just the rhetorical skills that have served them so well in politics and policy. Jenkins says:
The problem is that everyone knows good art should always put story and character above message. Message films are rarely exciting. So by their very nature, most Christian films aren’t going to be very good because they have to fall within certain message-based parameters. And because the Christian audience is so glad to get a “safe, redeeming, faith-based message,” even at the expense of great art, they don’t demand higher artistic standards. So aspiring filmmakers who are Christians have little need to perfect their craft, and Christian investors have little need to spend a lot of money because the message is going to be most important anyway. Add in the fact that the average heartland Christian couldn’t care less what a critic thinks — if anything, they assume they’ll feel the opposite of a movie critic — and you’ve got even less incentive for Christian filmmakers to be obsessed with quality.
Or, as producer Samuel Goldwyn has often been quoted as saying, “Pictures are for entertainment, messages should be delivered by Western Union.”
Does the left make “message” movies? Sure, all of the time (think of just about any George Clooney picture). And these agit-prop productions frequently bomb. But Jenkins is is correct in pointing out that generally speaking the cultural right still hasn’t mastered even the rudiments of cinema storytelling. This is a grave problem because America’s chief myth making industries — feature films, television entertainment, book publishing, popular music — are largely the province of the cultural left. Then again, if you’re in that camp, you could plausibly argue that, “We’re just better at this stuff.”
The power of narrative lies in its ability to reach the whole person, the heart and the head. It begins by creating an effect on the emotions — moving a person — and can register indelibly in human memory. Thus, narrative can serve as a powerful means of communicating ideas, but not primarily in message form. It works at a deeper level, sometimes tapping into the mythic consciousness of an entire people. That is why narrative is essential for political mass movements; once you get the hearts and the minds of the people excited, you can then move their feet in the direction you want them to go. Most recently, this political narrative form has been used artfully by candidate and now President Barack Obama (see “Obama and the Moral Imagination”). (more…)