Posts tagged with: movies

Blog author: ehilton
Thursday, October 16, 2014

malcolm xDon’t you love lists? Intercollegiate Press does too, and they’ve put together “12 Movies That Defined America.” Feel free to argue, debate, add on, cross off as you wish.

Here are just a couple of Intercollegiate Press’ choices:

The Birth of a Nation – 1915, silent. The first blockbuster, D. W. Griffith’s Birth of a Nation was both celebrated as a great artistic achievement and denounced as racist for its vicious depiction of African Americans and homage to the KKK. President Woodrow Wilson’s praise of the spectacle as “history written with lightning” served to dignify the film, despite the fact that Wilson may never have said it.

Mr. Smith Goes To Washington – 1939. Can one man stand against a world of lies? Jefferson Smith (James Stewart), a former Boy Rangers leader, appears to be in over his head in the corrupt world of congressional politics, but that won’t stop him from filibustering a bill that would reward graft. Denounced as anti-American upon its release (but banned in fascist and Communist countries), Frank Capra’s fable came to canonize the lone voice that speaks truth to power regardless of the odds. (more…)

Blog author: John MacDhubhain
Thursday, July 26, 2012

Last night, I went to see the newest “Batman” movie with my fellow Acton interns. I thought it was a great movie, and I recommend seeing it and reading Jordan Ballor’s review of it. I also want to echo some of the themes that Jordan discussed in his piece.

After the movie was done, it turned out that the people who had parked behind me were in need of a jump for their car. I didn’t know these people, but I did see that they needed help. And so I did something that people obsessed with government or with markets should think is impossible: I gave them a jump. No one forced me to do it. No one paid me to do it. I just did it, because it was the right thing to do.

The episode sort of represented many of the things that have been annoying me recently about my fellow libertarians (there may also be some guilty conservatives). I think they put far too much emphasis on having a market based solution to nearly every social problem. Yet giving someone a jump seems to defy traditional money-chasing impulses. There simply are things which we do not rely on a market to provide. (more…)

Immediately after watching For Greater Glory, I found myself struggling to appreciate the myriad good intentions, talents and the $40 million that went into making it. Unlike the Cristeros who fought against the Mexican government, however, my efforts ultimately were unsuccessful.

The film opened on a relatively limited 757 screens this past weekend, grossing $1.8 million and earning the No. 10 position of all films currently in theatrical release. Additionally, the film reportedly has been doing boffo at the Mexican box office. Clearly, word of mouth and the temperament of the times are driving folks to see a movie wherein good overcomes evil, and, more specifically, militarily enforced secularism is defeated by religiously faithful armed-to-the-teeth underdogs.

It’s not that the subject matter of For Greater Glory isn’t historically accurate and compelling.  Nearly 10 years after the Mexican Revolution, President Plutarco Calles decides to enforce the anti-clerical laws written into the 1917 Mexican Constitution.  Calles (portrayed blandly if not refreshingly free of Snidely Whiplash mustache-twirling by the otherwise fine actor and recording artist Ruben Blades) forced not only the closure of Catholic schools, but also the expulsion of foreign clergy. His oppression hat-trick was completed by the government confiscation of Church property. When the archbishop of Mexico City expressed his concerns, Calles had his agents bomb the archbishop’s home and the chapel of Our Lady of Guadalupe. (more…)

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…)

Blog author: kschmiesing
Wednesday, September 24, 2008

Opening this weekend in many markets is an enjoyable movie with a meaningful message, Fireproof.

My wife and I had the opportunity to screen it a few weeks ago, and came away impressed. The story behind the story is itself interesting: A Georgia church decided several years ago to try to influence the culture in a positive way, and determined that making movies was the way to do it. They enlisted a handful of professionals, but in large part the effort was amateur. Their second attempt, Facing the Giants, enjoyed some success—great success, considering the film’s resources and provenance. (They made an earlier picture, too, Flywheel, which I have not seen.)

I watched Facing the Giants only after I saw Fireproof. The latter is a much superior product, both in message and production quality. The Giants storyline reflected a facile “health and wealth” gospel: if you give your life to Jesus, all good things will come to you (even a new truck!).

Echoes of Giants’ screenplay, acting, and theme problems are still present in the third movie, but Fireproof improves enough in every area to make it a compelling drama. Kirk Cameron, as leading man, Caleb Holt, is very good. In an odd way, the acting novices, though obviously not as polished as professionals, bring emotional credibility to the story. The film’s frequent and effective episodes of comic relief provide just enough respite from the strong moral theme: the search for genuine love in the context of the institution of marriage.

In light of the mounting evidence that healthy marriages are vital to the maintenance of a free and virtuous society, it’s a theme that PowerBlog readers ought to find relevant.

If it’s available in your area and you’re looking for a couple hours of edifying entertainment, you might want to check it out.

Blog author: kschmiesing
Wednesday, August 13, 2008

As The Dark Knight sets box office records, and the Acton Institute plunges deeper into the business of film production, it might be an opportune time to revisit the question of Christianity and movies.

Scads of ink have already been spilled on the subject, which is of course part of the larger question of the relationship between Christianity and art, upon which many great minds have ruminated. (See, for example, Jacques Maritain on Art and Scholasticism.)

On the PowerBlog, besides the occasional movie review, John Armstrong (here) and Jordan Ballor (here and here) have alluded to the broader questions raised at the intersection of morality, movie production and viewing, and evangelization.

A provocative recent contribution to the discussion comes from Time magazine’s Anthony Sacramone, writing at On the Square. Sacramone refers to the defunct Motion Picture Production Code (one part of an interesting history of Catholics and American movies) in the course of a critique of the contemporary Christian Movieguide, concluding,

There should be a happy medium between resigning oneself to the rank nihilism emitted from cineplexes like stink lines from an R. Crumb cartoon, and pining for the days when the Production Code had to be formally amended to permit Rhett Butler’s valedictory “Frankly, my dear, I don’t give a damn.”

When thinking of southern Italy, Americans probably imagine the Amalfi Coast, Mount Vesuvius, and lemon groves, but to the average Italian the picture is of rotting garbage in the streets of Naples and the Mafia. These realities have been strikingly portrayed in Roberto Saviano’s book Gomorra (ET), which is also the basis of a newly-released motion picture in Italy.

Saviano is a young journalist who clearly describes the dark side of his country. It is probably the most courageous “j’accuse” ever cried out against the Camorra, the Mafia of Naples. In order to write this book, the author disguised himself, took on another identity and infiltrated “The System”, as the Camorra is known in Naples.

Saviano’s reporting has won several awards. His book has been translated in 42 countries and has been a best-seller in Germany, Holland, Spain, France, Sweden and Finland. The New York Times classified it as one of the best books of 2007 and The Economist added it to its list of 100 best books of 2008. In Italy, it is considered the best book of the year and has sold over a million copies.

In chilling passages, the author explains the power of the organization and names the families, alliances, trafficking, corruption and misery surrounding the Camorra’s world. It is a shocking picture, even for those Italians who are well-aware of the criminal organizations infesting Italy. These corrupt networks seem impossible to defeat, a parallel country within the country.

It is incredible to recount the Camorra murders in Naples, nearly 4,000 in the last 30 years, numbers that can be compared to a war. Even more astonishing are the figures concerning the economy of this international organization that, together with the other criminal organizations, accounts 7 per cent of Italy’s gross domestic product, more than $127 billion in a year.

The historic, political and social reasons that have lead to this phenomenon can be summarized in one word: “corruption”. Never in any other European country has there been such a wide scale and longstanding connection between crime and political corruption.

But thanks to this book and civic movements that are starting to rebel against this kind of society, Italians are developing a deeper awareness of the problem. The film version of Gomorra has gotten off to a great start at the box office, with more than €2 million in ticket sales in less than three days.

The movie brilliantly summarizes the book and is courageously filmed in Scampia, the dangerous Neapolitan neighborhood where the story takes place. The movie is also showing at the Cannes Film Festival where the international press applauded Saviano’s courage and the courage of Italians like Saviano (who has been living with constant police protection since October 2006) who courageously face truth and stand up to crime and corruption.