A basic problem is an inability to regard non-Christians as confronting real life situations that believers also face, or portraying Christians as people with similar problems to non-Christians — juggling multiple loyalties, avoiding temptation, maintaining integrity, or even looking up to people without faith for insights into the human condition. Is it possible, for instance, for a Christian to render a non-Christian as a charming, likable, even wise person?
Jared Wilson (not at TGC website) makes some good points about the poor quality of Christian movies:
Christian movies are not made by artists but propagandists.
I don’t mean that these projects aren’t carried about by people who know what they’re doing with cameras, lighting, etc. The visual quality of Christian movies has definitely increased over the last decade. The caliber of talent on both sides of the camera has increased, as well. So when I say Christian movies aren’t made by artists, I don’t mean they aren’t made by people who are good at their jobs. What I mean is that they are made by people who don’t really know what the job ought to be.
I tracked this shift most notably in Christian writing (fiction) about 20 years ago. We always wondered why there weren’t any more C.S. Lewises or G.K. Chestertons around. The truth is, there were — they just weren’t writing for the Christian market, because that market does not want art that communciates truth but art that is being used by a message. And there’s a difference. It is the difference between art and propaganda.
Christian movies are more akin to propaganda than art, because they begin with wanting to communicate some Christian theme — the power of prayer, the power of believing, the power of something — and then the story is crafted around that message. This is true even when the story is something based on a real-life incident. Delving into the depths of human character and motivation is subservient to getting the message across. This is why so much of the dialogue in Christian movies violates the classic writing proverb, “Show, don’t tell.”
Wilson makes several other good points about Christian movies’ lameness.
The thing is, someone could make similar points about the content at TGC, whether current events, movie reviews, or even discussions of Christianity. The problem with the Christian intellectual bright web is that the Christianity or w-w on view is mainly about uplift and rooting for the good guys, that is, the celebrity pastors who sometimes leave their own parachurch platforms to perform occasional services for TGC.
A basic problem is an inability to regard non-Christians as confronting real life situations that believers also face, or portraying Christians as people with similar problems to non-Christians — juggling multiple loyalties, avoiding temptation, maintaining integrity, or even looking up to people without faith for insights into the human condition. Is it possible, for instance, for a Christian to render a non-Christian as a charming, likable, even wise person? I understand the challenges that non-believers have in portraying Christians as anything other than two-dimensional figures. That’s because Christians have such trouble admitting that they are both human and spiritual, justified and unsanctified. But is it so hard to portray human existence apart from Christ as a compelling story from which Christians can learn how to participate in all those parts of experience that are not obviously religious? If it is hard — and it is — it is because the victorious Christian living, teaching, and defending that TGC advocates is one where Christians are sanctified across all parts of ordinary life. Christians do Christian music, holy child-rearing, sanctified plumbing, and spiritual goat breeding. If everything has to have Christian significance, you are going to miss a lot of life.
That is why The Big Kahuna is such a great movie. Of course, we may no longer watch it because it stars Kevin Spacey among others. Plus, it has at least 20 f-bombs. But it also portrays the haplessness of an evangelical engineer who works with worldly salesmen and turns out not to be a reliable colleague because he (Bob, played by Peter Facinelli) is so eager to evangelize on the job. The movie, to its credit, treats this evangelical as a real life human being. When he says that it’s more important to follow Jesus than sell an industrial lubricant (at a business convention), you actually see Bob’s dilemma. It is not a ridiculous riddle. But the evangelical also lacks character, as Danny DeVito’s character points out, because Bob doesn’t see how his desire to serve the Lord has blinded him to poor performance on the job, or a distance from co-workers. Bob sees himself in two dimensions because his piety tells him to view himself that way.
It is a smart movie from which Christians and non-Christians can see the way life doesn’t proceed in straight lines.
If TGC wants Christians to make better movies, they should produce better content.
D. G. Hart is Distinguished Associate Professor of History at Hillsdale College in Michigan, and also serves as an elder at Hillsdale Orthodox Presbyterian Church. This article is used with permission.