Best Movies by Farr

Getting Religion: The Ten Best Films on Faith

Is religion indeed the opiate of the masses? Judging by the number of movies made on the subject, you'd be tempted to think so.

Regardless of whether you believe in a higher power, it is impossible to deny the pervasive influence of organized religion through history, and need I add, not always for the good.

There are those who claim that religion has been responsible for losing as many lives as it's saved. Certainly devastating wars have been launched, and forces of prejudice and intolerance harbored, in its name.

It has also done an enormous amount of good, at the very least giving countless people hope who had no tangible basis to feel any.

I suppose that in the final analysis, religion is what we humans have made of it, good and bad. Perhaps that's what makes it such a fascinating subject for film.

Here then are my candidates for the top ten films dealing with faith and spirituality:

The Passion of Joan of Arc (1928)- Imprisoned by her many accusers, religious mystic Joan of Arc (Maria Falconetti) faces a gauntlet of interrogators, including powerful Bishop Pierre Cauchon (Eugene Silvain). After numerous threats and recriminations, with her fate decided, Joan is given one last opportunity to recant. Carl Theodor Dreyer's sensational, groundbreaking depiction of the trial of 15th-century Christian martyr St. Joan of Arc was one of the first on-screen realizations of the principle that film is "the seventh art." Though Dreyer's print was lost for 50 years, its eventual recovery and restoration guaranteed that others would finally be able to appreciate its sublime, expressionistic qualities. Mobile camerawork, unconventional angles, and inspired direction of the entire cast are its legacy, as are haunting close-ups of Falconetti's noble visage. Suffering never looked this good.

Black Narcissus (1947)- When young Sister Clodagh (Deborah Kerr) is asked to open a convent-hospital in a former brothel perched high above a small village in India, she readily agrees, despite knowing hardships lie ahead. Once there, she's greeted by a sardonic Englishman, Mr. Dean (David Farrar), who takes great delight in ruffling Sister Clodagh's habit. But it's jealous, unstable Sister Ruth (Kathleen Byron) who eventually succumbs to the dark allure of the exotic, windswept setting. Another great success for the team of Michael Powell and Emeric Pressburger, Narcissus shines as an absorbing, sensitively acted melodrama about the secular problems facing a new mother superior in an unfamiliar, potentially hostile new environment. The directors even stirred controversy by developing a subtle yet wholly credible sexual tension between the luminous Kerr and handsome Farrar. Jack Cardiff's Oscar-winning Technicolor photography and Alfred Junge's hand-crafted art design give this film exceptional production values to boot. And Kathleen Byron's celebrated turn as the unhinged Sister Ruth climaxes in a suspenseful sequence that's hard to forget.

Diary of A Country Priest (1951)- Arriving in the small community of Ambricourt, a novice parish priest (Claude Laydu) has trouble connecting to the people he is meant to serve, especially after a local Count (Jean Riveyre) warns him to wield his moral authority lightly. Devout but awkward, the young priest is further hampered by ill health, which forces him to adopt an austere diet of bread and wine. Isolated and unsure of his ultimate purpose, the ailing curate eventually experiences a crushing crisis of faith. Robert Bresson's exquisite, affecting study of a young priest's spiritual travails endures as a major achievement in world cinema. Priest is minimalist in style, with Laydu's restrained performance eliciting our empathy and subtly attuning us to his character's inner struggles. Bresson handles the details brilliantly, his unadorned elegance and intensity permeating the mood, set design, and action. "Priest" is a sublime film that will reward attentive viewers with a profound meditation on life, faith, and purpose.

The Nun's Story (1959)- Devout, kindhearted Belgian girl Gabrielle (Audrey Hepburn) takes vows and becomes Sister Luke, a nun who achieves her dream of working in the Belgian Congo and ministering to the infirm, yet not without difficulties of conscience. Dr. Fortunati (Peter Finch), a gifted surgeon who senses Luke's inner struggle to meet her spiritual commitment, becomes a challenging presence. But the outbreak of war presents Sister Luke with an even bigger crisis of faith. Fred Zinnemann's first-rate but largely overlooked feature showcases the luminous Hepburn in her prime, as in her transformation, she contemplates hardship, devotion, and a very special kind of self-realization. A literate, nuanced drama with size, scope and color, the film boasts superb location photography and uniformly fine performances, both from the young leads and two English Dames: Edith Evans and Peggy Ashcroft, as senior nuns who guide Sister Luke along her often thorny path. Story is an affecting, heartfelt epic of inner struggle.

A Man For All Seasons (1966)- When the Pope refuses King Henry VIII (Robert Shaw) an annulment of his marriage to a barren wife, Henry declares a break with Rome, nominates himself spiritual regent of the newly christened Church of England, and demands that his Lord Chancellor, Sir Thomas More (Paul Scofield), recognize him. With his allegiance divided between the throne and the Catholic Church, More demurs, until circumstances force him to make a choice. An outstanding adaptation of Robert Bolt's play by Nun's Story director Fred Zinnemann, Seasons revisits the ill-fated conflict between Henry VIII and More, building upon the film's central ethical issue: Whether More will sacrifice his life in defense of moral truth. Scofield won an Oscar for his shaded portrayal of Thomas, Shaw is magnificent playing a fiery Henry, and cameos by Orson Welles, Susannah York, and Leo McKern round out a sterling cast. A box-office hit, Seasons will resonate with anyone who's ever had a crisis of conscience.

Jesus Of Nazareth (1977)- This landmark six-hour mini-series tells the story of Jesus Christ (Robert Powell), from birth in Bethlehem to the Virgin Mary (Olivia Hussey) to death on the cross at Golgotha by order of Pontius Pilate (Rod Steiger), and its effect on his twelve apostles. Franco Zeffirelli's international all-star production is no Last Temptation of Christ -- nor a grotesque death march a la Passion of the Christ. Reverent, enthralling, and faithful to the Gospels, this solemn, sensitive film is epic in scope, yet unfolds at a contemplative pace. With elaborate staging, desert locations, and a haunting score, this film etches into memory with iconic power. And that cast: Michael York, James Earl Jones, Anne Bancroft, Ernest Borgnine, Donald Pleasence, and many other big names fill out supporting roles, while crystal-eyed Powell manages to embody both the majesty and mystery of the Biblical Son of God.

Why Has Bodhi Dharma Left For The East? (1989)- At a remote mountaintop retreat, an aged, ailing Zen master shares his spiritual wisdom with a young monk and an orphan boy he has taken in out of kindness. The days pass slowly, but bit by bit, through an ascetic regimen that honors the inevitable cycle of life, death, and rebirth, the two acolytes are guided along the path of enlightenment. Bae Yong-Kyun, a painter by trade from South Korea, spent years laboring over this profound film, a kind of tone poem that attempts to express what is ultimately inexpressible: the spiritual sublime. In place of dialogue and narrative action, he gives us rich life lessons and spellbinding images of nature. Whether you think of it as a Buddhist riddle (termed a "koan"), a mystical allegory, or an inner-world travelogue; if you're in the right frame of mind, you will surely be fascinated by Bae's highly intelligent, visually arresting film.

Jesus Of Montreal (1990)- Wanting to modernize a long-running Passion Play in his Montreal parish so it will be relevant to a wider audience, Catholic priest Father Le Clerc (Gilles Pelletier) hires Daniel (Lothai Bluteau), an intense young actor, to mount a new production. Daniel researches his role as Christ, gathers a motley cast of veteran players, and mounts a daring and provocative re-telling of the Biblical tale that horrifies Le Clerc but becomes a smash hit in Quebec. Here, French Canadian director Denys Arcand broaches a controversial subject-the historical accuracy of Christ's crucifixion and the true message of his teachings-with flair and fearlessness. This wholly unique feature offers much more than a backstage drama: Daniel's quest to find his actors mirrors that of Jesus finding his disciples, and life imitates religious art in many thought-provoking ways throughout Montreal. Arcand finds plenty of opportunities to critique modern life, too, while staging "the greatest story ever told."

Spring, Summer, Fall, Winter...and Spring (2003)- At a floating monastery on a placid lake, an older monk teaches the Buddhist way of life to a young boy, whose maturation is reflected in the passing of the seasons, and the different life stages which accompany each. Years later, after a sojourn in the outside world clouded by lust and violence, the boy -- now a jaded young man -- returns seeking shelter from the law, only to find unexpected redemption. A film that evokes a striking visual and spiritual purity, Korean director Kim Ki-duk's Spring, Summer is ideal for those seeking a profound, contemplative movie experience. Yet the film is by no means heavy-going; in fact, its simplicity and spare beauty create a soothing, entrancing effect. On a deeper level, we sense universal forces at work in this tale, with the passage of time reflecting a continual cycle of pre-destined occurrences that traverse good and evil, innocence and cruelty. Arresting and unusual, Kim's Spring is a cinematic balm for the soul and senses.

Into Great Silence (2005)- In this intimate doc, we get a never-before-seen glimpse of the daily lives and rituals of the Grande Chartreuse, an 11th-century monastery inhabited by modern-day Carthusian monks, whose vows of silence and poverty guide them to states of profound inner holiness. Whether tending the grounds, feeding the cats, or barbering each other after morning prayers, the Carthusians live a life of beautiful simplicity and austerity, untouched by the cares and demands of the outside world. Philip Groning waited 16 years for permission to film these pious men, and then spent six months in their wordless company, filming alone and only with available light. Shunning music and voiceover narration, Groning's observational style is as pure as the monks' lifestyle of work and prayer, seducing us into appreciating their very singular and private mode of worship.

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Our Morally Superior Nation: Movies that Reflect the Corrosive Influence of Religious Extremism

With a couple of recent celebrity scandals, a troubling aspect of the American character has reared its head once again: a moral absolutism and extremism fostered largely by the fanatical religious right- be they fundamentalist, evangelical, or the more orthodox wing of the Catholic Church.

Their vocal and powerful presence in the social discourse of America marks ours as a country populated by a more than a few intolerant, unforgiving prudes and, worse, hypocrites.

Just consider the Letterman case: the prevailing attitude seems to be that he got off pretty easy. Still, let’s not forget the inevitable media circus that came with his disclosure, with a growing list of young employees stepping forward with all the tawdry details of their encounters.

Of course the press plays right into this shameless exploitation: in decline and desperate to milk any salacious tale that will drive sales, they assume (too often correctly) that their audience wants to know every last grimy tidbit. And as we get drawn into the feeding frenzy, whatever position we take, we play right into the hands of the zealots: if we take a sympathetic stand, we are seen to wallow in the trash and expose our own low natures; if we take a more judgmental view, we appear to wag our collective finger at a miserable, dissolute sinner.
To me, it all feels grotesque.

My perhaps old-fashioned view is that in this specific instance the attempted crime was extortion; the fact the adultery was involved, while it can hardly be kept secret, should largely remain an issue between Letterman and his wife. Is this so odd? After all Dave is no role model, neither politician nor priest; he is a talented and famous TV personality. Those outraged that men in power are prone to straying are simply living in a fantasy world- this is nothing new, nor will it ever go away through the power of prayer.

Personally I preferred the days when reporters and their public actually respected individual privacy to some degree. Maybe it was a silent acknowledgement of our shared, highly imperfect humanity, and perhaps also a belief that an Orwellian, “Big Brother” society should be avoided at all costs.

Times have certainly changed, in that today’s technology ensures most everything we do can be tracked. And in this environment where there is virtually nothing off-limits to the public, the rigid, black-or-white influence of the original Puritans endure, as far-right factions promote a culture of intolerance, character assassination and fear-mongering, and as they themselves trample on individual rights and commit crimes (like working to deny women's right to choose), all in the name of righteousness and morality.

The saddest part of this is that these corrosive forces undermine all the most positive aspects of organized faith and religion: the ideals of human generosity, humility, and forgiveness all recede amidst lies, corruption and condemnation.

The most recent Bush administration may have done more to empower these groups than any administration preceding it: our “born again” ex-President who relied on the Almighty to guide his decision-making.

However, this disturbing, persistent vein of religious fanaticism and corruption existed in this country long before those interminable dog days of George W., as the following timeless titles indicate:

Inherit The Wind (1960)- In this courtroom drama based on the landmark Scopes Monkey Trial of the 1920s, defense lawyer Henry Drummond (Spencer Tracy) and fundamentalist prosecutor Matthew Brady (Fredric March) face off when schoolteacher Bertram Cates (Dick York), is put in jail for teaching evolution in tiny Hillsboro, Tennessee, with the arrest instigated by his girlfriend's disapproving father, Rev. Jeremiah Brown (Claude Akins). Kramer's spellbinding film features a deft performance by Tracy as the rumpled, deceptively plain-spoken Drummond (modeled on Clarence Darrow), matched by March's larger than life, virtuoso turn as Matthew Brady (based on William Jennings Bryan). Just sit back, pretend you're sitting in that humid courtroom, and watch two old pros at work. You'll re-live history. Also look for Gene Kelly in one of his only serious, non-dancing roles as a cynical journalist based on H.L. Mencken.

Elmer Gantry (1960)- Though obviously dissolute, charismatic street preacher Elmer Gantry (Burt Lancaster) teams up with touring tent revivalist Sister Sharon Falconer (Jean Simmons), and before long the two are making money hand over fist. Falconer falls in love with Gantry, and with her new spoils, builds an enormous house of worship by the ocean. But the mercurial minister's womanizing past is about to revisit them in the person of Lulu (Shirley Jones), a jilted prostitute out for a little payback. Based on the bestselling novel by Sinclair Lewis, this tale of a lustful, larger-than-life charlatan's fall from grace owes its strength to the force of Lancaster's dynamic, Oscar-winning performance. His Gantry preaches hellfire and brimstone, but loves life - and women - with a hearty gusto that is as pure as Sister Falconer's vanity is unbecoming. Jones also took home an Oscar, playing against type in a sultry turn as a minister's daughter who became Gantry's lover. Also great is Arthur Kennedy as an atheist journalist modeled on the legendary H.L. Mencken. Fiery and sharp, this satirical take on Bible-thumping hypocrisy and hucksterism speaks volumes in today's world.

Marjoe (1972)- This skin-crawling exposé of the tent-revival circuit focuses squarely on one Marjoe Gortner, a former child evangelist who returns to preaching as an adult, charging up sold-out audiences throughout the South with his fire-and-damnation-style sermons, and bilking them for every cent they're willing to cough up. A convert himself to the sixties counterculture movement, the groovily clad, charismatic preacher invites a film crew to trail him around when he decides it's time to end his sham double life and leave the lucrative "business" behind. Like a lightning bolt to the heart, the Oscar-winning "Marjoe" hits its mark with illuminating mercilessness. Opening with old videos of Marjoe preaching hellfire at age 4, the directors give us a taste of what the openly fraudulent evangelist, a flower child who professes no spiritual belief whatsoever, can accomplish with a microphone, as he works his congregations into a moaning, epileptic fervor. Even more fascinating is how honest the narcissistic Marjoe is about his personal misgivings, his atheism, and the profit motive behind these Pentecostal meetings, which he headlines with a mix of rock-star bravado and sanctimonious humbuggery. "Marjoe" is infuriating, but also strangely cathartic, as we witness Marjoe’s mask falls away.

The Apostle (1997)- After discovering that his wife Jessie (Farrah Fawcett) is having an affair with younger minister Horace (Todd Allen), devout Pentecostal preacher Sonny Dewey (Robert Duvall), a father of two young children, loses his wits and attacks the man with a bat, sending him into a coma. Fleeing Texas, Sonny assumes a new identity in Louisiana, opens a church, and revitalizes the faith of mostly black locals with his spirited, inspirational sermons. But Sonny’s past sins aren’t so easily washed away. Veteran actor Duvall wrote, directed, and starred in this stirring evangelical drama about faith, personal passion, and moral responsibility, a pet project he spent over a decade bringing to the big screen. Duvall is nothing less than sensational as Dewey, a pious yet deeply conflicted man whose belief in salvation is never in question. Excellent performances by Fawcett, Miranda Richardson, and Billy Bob Thornton as a bayou racist tweak the picture, but Duvall throws himself into the marquee role heart and soul. “The Apostle” will make a believer out of you.

Deliver Us From Evil (2006)- Grappling with the pedophile scandals that have brought the Catholic Church to its knees in recent years, Director Amy Berg has a harrowing heart-to-heart conversation with Father Oliver O'Grady, one of the most notorious child rapists, who recounts his crimes in painfully specific detail. Berg then interviews his many victims, still scarred by their encounter with O'Grady, and still angry at the unconscionable harboring of this serial molester by Church authorities. Of course there is something revolting and horrifying about O'Grady, now living safely in exile in Ireland thanks to the exertions of his superiors, but how remorseful can we really expect a sociopath who viciously assaulted children over three decades to be? Scarier still are the Church bigwigs, like L.A. Cardinal Roger Mahoney, who prefer to arrogantly deny their role in protecting a monstrous man of the cloth rather than remain true to their spiritual calling. This is disturbing stuff, but luckily Berg contextualizes all of it for viewers wondering how-yes, in God's name-these crimes were ever allowed to happen.

Jesus Camp (2006)- This eye-opening documentary trails Pentecostal children's minister Becky Fischer in her quest to, as she phrases it, indoctrinate the next generation of evangelical leaders. Glimpsed mainly at a "Kids on Fire" summer retreat in North Dakota for those under 15, these youths dutifully pray for theocracy and the vanquishing of Satan in cathartic sessions and hear tough-talking teach-ins about sin and salvation, abortion and politics, and laying down their lives for Jesus. By focusing intently on a single woman's efforts to raise a theocratic revival in America, film-makers Rachel Grady and Heidi Ewing have supplied us with a thumbnail sketch of this country's fastest growing, most influential social movement. Home-schooled by evangelical parents who teach them creationism instead of evolution, amiable preteens like wannabe preacher Levi and proselytizer Rachael are urged by Fischer to pray for George W. Bush and pro-life Supreme Court appointees, then given over to fervent prayer sessions in which they speak in tongues. The filmmakers opt to showcase radio talk-show host Mike Papantonio in lieu of critical voiceover, but they really needn't have: Fischer and her juvenile God's Army are alarming enough on their own.

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