A year ago at this time, discussion of Hollywood’s “religious renaissance” began in earnest. Movies like Son of God, Noah, Heaven is for Real and God’s Not Dead were preparing to release, with more faith-oriented films set to come out later in the year (Mom’s Night Out, The Identical, Left Behind, Exodus). A year later, after mixed box office results and plenty of heated blogosphere chatter, what have we learned about what works and what doesn’t when faith and film collide?
For my book Gray Matters I asked Jack Hafer to categorize different approaches Christians have taken to film & filmmaking, and he described three. Below I’ve summarized his three approaches, plus a fourth that I have personally observed.
I long for the day when we will have moved on from “Christian film" as a category. I long for the day when evangelicals will make excellent films that are beautiful, lasting, complex and true. I long for the day when Christian moviegoers will appreciate truly great films and encounter God through them, regardless of if they are made by Christians or pagans.
As someone who has lived, worked, and/or studied in the film industry for the last three years, it pains me to say it, but say it I must: the "Christian film" is no better today than it ever was. Of course, I would be the first to suggest that there shouldn't even be a Christian film industry, that "Christian" makes no sense as a generic modifier. But there IS a Christian film industry, and will be as long as there is a Christian subcultural marketplace; thus, the least we can do is make good films, right? Wrong. We make films like this.
Does anyone want to see that movie? The problem is not the concept; I would welcome a film that uplifts marriage and argues against divorce as the easy way out. The problem, of course, is the execution. This film--as evident from the trailer--features antiquated filmmaking techniques, cheap-looking sets and costumes, horrible acting, and a cheesy Christian music soundtrack. There is nothing aesthetically interesting going on in the trailer. It's painstakingly ordinary and grievously cliched. God help us if this is the best we can do.
We need to put a moratorium on making films like this until we can prioritize craft. We have to appreciate aesthetics as valid apart from didactic storytelling (aka preaching). Good can be done (dare I say: converts won) by an achingly beautiful cinematic image just as effectively as by the most clear-cut conversion scene. We must recognize the value of style as itself a crucial form of content.
But mostly we just need to strive for excellence and stop churning out bilge.