Category Archives: Old Codex Blog Posts

Posts from my old Codex: Biblical Studies Blog

Yahweh – a Moral Monster?

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[One day I will like to explore this issue more. Last year I taught a course on the Bible and violence and I know I raised more questions for the students than provided solutions! Originally posted 07/2008]

One of the biggest moral and theological challenges modern readers face when reading the Old Testament/Hebrew Bible is the brutal violence found within its pages. And if the graphic descriptions of violence perpetrated by humans upon other humans was not enough (see Judges 19-21 for one startling example), you have the thornier issue of violence attributed  to and commanded by God. Perhaps the biggest and most troublesome example in this regard is the Canaanite genocide – Yahweh commanding Israel to “utterly destroy” all of the inhabitants – men, women, and children – of the promised land.

Prior to the conquest, Yahweh set out his expectations to Moses and the children of Israel as follows:

In the plains of Moab by the Jordan at Jericho, the Lord spoke to Moses, saying: Speak to the Israelites, and say to them: When you cross over the Jordan into the land of Canaan, you shall drive out all the inhabitants of the land from before you, destroy all their figured stones, destroy all their cast images, and demolish all their high places. You shall take possession of the land and settle in it, for I have given you the land to possess (Num 33:50-53).

When the Lord your God brings you into the land that you are about to enter and occupy, and he clears away many nations before you — the Hittites, the Girgashites, the Amorites, the Canaanites, the Perizzites, the Hivites, and the Jebusites, seven nations mightier and more numerous than you — and when the Lord your God gives them over to you and you defeat them, then you must utterly destroy them. Make no covenant with them and show them no mercy (Deut 7:1-2).

But as for the towns of these peoples that the Lord your God is giving you as an inheritance, you must not let anything that breathes remain alive. You shall annihilate them—the Hittites and the Amorites, the Canaanites and the Perizzites, the Hivites and the Jebusites—just as the Lord your God has commanded, so that they may not teach you to do all the abhorrent things that they do for their gods, and you thus sin against the Lord your God (Deut 20:16-18).

Then, when the Israelites encountered the Canaanite king of Arad on the way to the promised land, they prayed to Yahweh and he “listened to the voice of Israel, and handed over the Canaanites; and they utterly destroyed them and their towns; so the place was called Hormah” (Num 21:1-3). The Israelites later killed off a few other towns on their journey, Moses later reporting, “we utterly destroyed them… in each city utterly destroying men, women, and children (Deut 3:6).

Perhaps the most (in)famous example is the destruction of Jericho, where

they devoted to destruction by the edge of the sword all in the city, both men and women, young and old, oxen, sheep, and donkeys (Josh 6:21).

How do we respond to such texts?

Now, I recognize there are significant historical issues with these texts. Most (many?) critical scholars maintain that there was not really much of a conquest of Canaan, if at all. John Van Seters, for example, comments “the invasion of the land of Canaan by Israel under Joshua was an invention of [the Deuteronomistic Historian]. The conquest narrative is a good example of ancient historiography but it cannot pass for historical by any modern criteria of historical evaluation.” Even the biblical text, when read carefully, admits that the conquest was not quite as successful as the early chapters of Joshua suggest (see Josh 13:1‑7; 18:3; cf. Exod 23:29-30; Judg 1). That being said, even if there is little histiorical value in these texts (note I am not necessarily saying this), the biblical text still presents Yahweh as commanding the Canaanite genocide, and this picture fits into the larger ideological portrayal of Yahweh as warrior found throughout the Hebrew Bible.

So the question remains, How do we respond to such texts? How do we respond to such texts in a post-holocaust world? How do we respond in a world where terms such as “ethnic cleansing” and “genocide” are heard all too often in the news?

The so-called “new atheists” (Richard Dawkins, Daniel Dennett, Sam Harris, Christopher Hitchens, among others) have responded to these and other biblical texts by rejecting Yahweh as a petty, jealous, violent deity.  Dawkins comments:

The God of the Old Testament is arguably the most unpleasant character in all fiction: jealous and proud of it; a petty, unjust, unforgiving control-freak; a vindictive, bloodthirsty ethnic cleanser; a misogynistic, homophobic, racist, infanticidal, genocidal, filicidal, pestilential, megalomaniacal, sadomasochistic, capriciously malevolent bully (Dawkins, The God Delusion [New York: Houghton Mifflin, 2006], 51; thanks to Randal Rauser for this citation).

He further contends:

What makes my jaw drop is that people today should base their lives on such an appalling role model as Yahweh-and even worse, that they should bossily try to force the same evil monster (whether fact or fiction) on the rest of us (The God Delusion, 248; cited in Copan).

While rejecting Yahweh may be a solution for some, I would argue that it really isn’t an option for Christians who want to adhere to the biblical canon. But what do we do with these texts? Paul Copan, professor of theology and ethics at Palm Beach Atlantic University, has recently published an article in Philosophia Christi that addresses this thorny problem. In his article, “Is Yahweh a Moral Monster? The New Atheists and Old Testament Ethics” (available from the Evangelical Philosophical Society website here), Copan attempts to counter the claims of the new atheists, among others. Copan rehearses most of the typical responses Christians have given in the past, though I am not sure how satisfied I am by his answers.

Time permitting, I am planning on following up this post with at least one more where I will engage Copan’s article and provide some ways to understand this portrayal of Yahweh. That being said, I can’t say I am fully satisfied with my own answers (perhaps this is one of those issues where we should never be satisfied with any answers!).

What are your thoughts?


Jesus Junk and Christian Kitsch, Volume 4 – What is Kitsch? (Best of Codex)

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[I have an abiding interest in kitsch and this post provides some theoretical background into kitsch. Originally posted 20th October 2005]

I’ve been asked by some readers “What is ‘Kitsch’?” In this post I will attempt to define it, or more accurately, I will show some ways that it has been used in the discussion of religion & popular culture. I should say at the onset that much of my thoughts on kitsch have been formed in part by the following books:

McDannell’s work is perhaps the classic work on the material culture of different religions from an outsider religious studies perspective, while Brown’s monograph focuses more on the aesthetics of taste. I have not had a chance to examine Spackerman’s work yet, though it looks intriguing. Miller’s absolutely excellent work is an analysis of the effect of advanced capitalism on religion, especially on the effects of the commodification of religion in our culture.

While I am primarily interested in “Christian” kitsch, all religions have their own material culture, and consequently their own kitsch. There are many examples of “Judaikitsch,” Islamic kitsch, and kitsch from eastern religions. Thus you can buy Mitsvah Bears, Krishnah action figures (as well as Shiva and Buddah), or “I Love Allah” rulers.

nonChristian_kitsch

What is “Kitsch”?

The term “kitsch” gained popularly by the 1930s when it was used to describe poor art. While the etymology of the word is unclear, many suggest the term was coined by German painters during the mid-1800s to deride the cheap “tourist art” bought in Munich (Kitschen with the sense “to make cheap”). Thus, the term “kitsch” is used by many to denote trivial literature, low quality materials, sentimental arts, or vulgar merchandise. Beyond this, McDannell finds that there are three distinct ways or approaches that scholars, artists, and cultural critics use the term “kitsch”: cultural, aesthetic, and ethical.

A Cultural Approach
Sociologists, anthropologists, and cultural studies specialists note that for many the term “kitsch” is pejorative and reflects a cultural bias. In contrast to this understanding of the term, proponents of this perspective understand kitsch as a reflection of educational and economic levels, among other things. Thus Bourdieu notes, “art and cultural consumption are predisposed, consciously and deliberately or not, to fulfill a social function of legitimating social differences.” One person’s art will be another person’s kitsch.

GodBlessPlaque

Every social group has its own artistic expression that include a system of aesthetics with its own internal logic and we should not judge one group’s material culture by the standard’s of another.

An Aesthetic Response
Artists and cultural critics are not as forgiving as social scientists, and some tend to see kitsch as mass produced and inferior art, a cheap imitation of good art.

Last_supper_lunchbox2This approach places kitsch as a subset of art — it tries to be art, but it ultimately fails. Some proponents of ths approach understand this low quality art as an attempt to identify with the “real art” of the upper classes. Thus, kitsch required the existence of a mature cultural tradition from which inferior copies could be made (Greenberg). Of course, this approach begs the question of who gets to decide what is real art and what is not!

An Ethical Response: Kitsch as Anti-art
PreciousMomentsA final approach to kitsch understands it as containing a negative moral dimension. It holds that art should reflect the true, the good, and the beautiful — and kitsch does not. “Art, then, is, in its own way — no less than theology — a revelation of the Divine” (Lindsay). If this is the case, then kitsch is “the element of evil in the value system of art” (Broch). For example, the ability of kitsch to “sentimentalize the infinite” has ethical connotations as it reduces something meaningful to a bauble and divorces it from its original meaning-providing context. I can’t help but think of all of the “Precious Moments” figurines that elicit an “aww… isn’t that cute” response.

Kitsch and Commodification

The rise of Christian retailing in the 19th and 20th centuries added a new dimension to the whole kitsch debate. While “Jesus junk” has its origins in the 1800s, it exploded with the development of advanced capitalism in the late 1900s. In the 1990s the sales of Christian products exceeded 3 billion annually — and that’s just in the United States! Advanced capitalism, with its outsourcing, niche marketing, and new marketing and advertising techniques has clearly demonstrated that anything — absolutely anything — can become a commodity. This results in the reduction of beliefs, symbols, and religious practices into “free-floating signifiers” to be consumed like anything else. The result is the proliferation of what some would consider “kitsch.”

Final Thoughts

I have sympathies for all of the approaches to kitsch noted above. The more neutral social-scientific study of kitsch is crucial for understanding the material culture of different groups within Christianity. This I believe has to be the first step in any analysis of kitsch. In regards to the aesthetic approach, I think it is very difficult to maintain a rigid dualism between good art and kitsch — especially in the light of blurred distinctions between camp, pop art, hyper-realism, and even kitsch art.

But when I put on the hat of a theologian and take an “insider” perspective, I find it difficult to maintain neutrality. But rather than take an ethical stance based on some idea of aesthetics, I would base my ethical repsonse based on the affect of advanced capitalism on Christianity. In this sense, I am more concerned with the commodification that much of Christian kitsch represents, than with any evaluation of its artistic merit. I can’t help but think that much of what I would consider “kitsch” devalues and cheapens Christianity (or Judaism, Islam, Hinudism, or any religion) by taking it out of its faith context and reducing it to a product to be consumed like anything else. But then again, I could be wrong!


What Was Wrong with Cain’s Offering? A Possible Hint from Hebrew Grammar

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[I post a lot about Old Testament/Hebrew Bible on this blog. This post explores one of the perennial problem passages in the early chapters of Genesis.  Originally posted 03/2009]

One of the many crux interpretums in the early chapters of the Book of Genesis surrounds Yahweh’s negative response to Cain’s offering. Why did Yahweh accept Abel’s offering and reject Cain’s? Some traditional — yet ultimately unsatisfying — answers include that God prefers animal sacrifices over grain offerings or that God prefers shepherds to farmers. Others have chalked it up to the mystery of Divine election. The New Testament author of Hebrews interprets Yahweh’s disapproval as a matter of faith: “By faith Abel offered to God a more acceptable sacrifice than Cain’s” (Heb 11:4).

The passage in Hebrew MT  is as follows:

‏ וַיְהִי־הֶבֶל רֹעֵה צֹאן וְקַיִן הָיָה עֹבֵד אֲדָמָה‎
‏וַיְהִי מִקֵּץ יָמִים וַיָּבֵא קַיִן מִפְּרִי הָאֲדָמָה מִנְחָה לַיהוָה‎
‏וְהֶבֶל הֵבִיא גַם־הוּא מִבְּכֹרוֹת צֹאנוֹ וּמֵחֶלְבֵהֶן
וַיִּשַׁע יְהוָה אֶל־הֶבֶל וְאֶל־מִנְחָתוו‎
‏וְאֶל־קַיִן וְאֶל־מִנְחָתוֹ לֹא שָׁעָה‎

While the biblical text does not indicate explicitly why Yahweh approved of Abel’s offering and disapproved of Cain’s, I wonder if it gives us a hint based upon an under appreciated nuance of Hebrew grammar: the anterior construction. I made reference to Ziony Zevit’s volume, The Anterior Construction in Classical Hebrew (Scholar’s Press, 1998; buy from Amazon.ca | Amazon.com), in a comment on a previous post. Zevit argues that when biblical authors wanted to indicate unambiguously that a given action in the past had commenced and concluded before another action in the past (a pluperfect) or had started but not necessarily finished in the past prior to the beginning of another action (preperfect), they would use the following construction:  vav + subject followed by a qatal verb (all preceded a past tense verb).  Taking this construction into consideration, here is my translation of the Cain and Abel passage:

Now Abel was a keeper of sheep,
but Cain had been a worker of the ground.
And after many days, Cain brought to Yahweh a gift from the fruit of the ground,
But Abel, he had already brought from the first born of his flock, their fat portions.
Now Yahweh looked with favour to Abel and to his gift,
but to Cain, and to his gift, he did not look with favour.

The use of the anterior construction (indicated by italics) emphasizes that while Cain had started being a worker of the ground before Abel took up his farming (which would have been expected as the older brother), Abel was the first to bring a gift to Yahweh from the fruit of his labours. Moreover,  the parallel construction of these verses (as a chiasm, in fact) sets up a clear contrast between the gifts: Cain only brought from the fruit of the ground, while Abel brought the fat portions from the first born of his flock. While we shouldn’t read later sacrificial law back into this account, the fact that Abel’s gift receives additional  descriptors suggests that he offered the first and the best.

So while the biblical text doesn’t spell out exactly why Yahweh favoured Abel’s gift, it seems clear from the grammar and syntax of the passage that not only did Abel beat his brother by bringing a gift to Yahweh before him (even though Cain started his career first), he also offered the first and the best of his flock to Yahweh. Perhaps that is why Yahweh looked with favour on Abel’s offering. This understanding comports well with interpretations that suggest the individual’s attitude (or faith) was the reason for Yahweh’s response. In fact, it provides some evidence within the text itself for the difference in attitudes between the brothers.

At any rate, I don’t have time to explore the pros and cons of the anterior construction (it makes some assumptions of the nature of the Hebrew verbal system), but thought I would highlight this one potential way it can shed some light on a difficult passage.


The Septuagint and Textual Criticism: Retroverting the Text

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[One of my main areas of research is the Greek translation of the Hebrew Bible, the Septuagint. This post talks about how the Greek text can be used to help us understand the Hebrew original. It was originally published 08/2009]

In this post I am laying a foundation for my next installment in my series on Psalm 151 in the Biblical Tradition, by discussing how to retrovert a text from one language into another. This is most commonly done when using the Septuagint in the textual criticism of the Hebrew Bible/Old Testament. Thus, in order to employ the LXX in textual criticism one must retrovert the Greek text back into Hebrew (for more information on the Septuagint and textual criticism in general see my series of posts on Textual Criticism of the Hebrew Bible). In many cases retroverting a text is easier said than done.

Here are some tips for retroverting a text:

Focus on the translation technique of the individual book in question. The LXX is not a uniform translation. Various translators at different times, with varying philosophies of translation and different language capability, translated different portions of the Hebrew Bible to make up the LXX. For example, the translation of the Torah is a good formal translation, the translation of the Psalter is very formal, while the translations of Proverbs and Isaiah are less so. Thus one cannot assume that the way one translator rendered a particular Hebrew word or construction will be the same fora translator of a different book. Each individual book of the LXX has its own idiosyncrasies to its translation; thus a careful examination of its translation technique is necessary before one can retrovert the text with any confidence.

Examine the different ways a translator renders a particular word. In order to figure out what Hebrew word may be behind a particular Greek word in a passage, you need to look up every instance of the Greek word in question within the biblical book and note what Hebrew word was being rendered. There are a number of useful resources that will help you with this task. If you have a Bible software package with the original language modules, then you can do a Greek lemma search and see what Hebrew was being translated. Even more ideal is if you have Emauel Tov’s The Parallel Aligned Hebrew-Aramaic and Greek Texts of Jewish Scripture module where you can see the equivalent elements of the MT and the LXX (as reconstructed by the editor). For more on the different software programs available for Biblical Studies, see my Bible Software pages. If you do not have a Bible software package, then you can manually look up how a word is with Takamitsu Muraoka’s Hebrew/Aramaic Index to the Septuagint: Keyed to the Hatch-Redpath Concordance (Baker Academic, 1998; Buy from Amazon.ca | Amazon.com) which also comes included in Edwin Hatch, Henry A. Redpath, A Concordance to the Septuagint: And the other Greek Versions of the Old Testament – Including the Apocryphal Books (Second edition, two volumes in one; Includes Muraoka, “Hebrew/Aramaic Index”; Baker Academic, 1998; Buy from Amazon.ca | Amazon.com).

Identify a pattern. If a clear pattern emerges, propose a retroversion. When you examine the different ways an individual book tends to translate a word into Greek, and if there is a clear default rendering, then you can be fairly confident in proposing the retroversion. While you can never be 100% certain with any retroversion, some will be more certain than others.  If a clear pattern doesn’t emerge, or if the words in question do not occur frequently enough in the book under study, then you will need to broaden your investigation to see how the word is rendered elsewhere in the LXX. While this will not produce as clear of results as the previous situation, you can still produce a workable retroversion.

With these principles in mind, the Septuagint may be employed quite fruitfully in the textual criticism of the Old Testament/Hebrew Bible. Of course, retroversion may also be used with texts of other languages, and even in ascertaining the relationship between Hebrew Dead Sea  Scroll texts and the Septuagint (as I will seek to do in my next post on Psalm 151).


Essential Films for Theologians: The “Director’s Cut”? (Best of Codex)

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[With the Oscars quickly approaching, I figured I could highlight some of my previous reflections on film. This was originally Posted 15th February 2006. As far as this year is concerned, I would give top honours to The King’s Speech, though True Grit and Inception were also great films]

Ben Myers over at Faith and Theology had asked me to contribute an entry on film to his “Essential… for Theologians” series. I was honoured to be asked and have spent some time formulating my list. My original list may be viewed on Ben’s blog here.

In the grand film tradition of producing a “Director’s cut”, I decided to expand my original list by both adding four additional films and including a number of “runners up.” I also explained a bit of my rationale for selecting the films I did.

I published my list with some trepidation knowing that I omitted a number of significant religious films — particularly a number of older classics that many such top ten lists include (see, for instance, Ken Ristau’s recent list of “Essential Movies for Theologians.” For an extensive list, see the Arts & Faith Top 100 Spiritually Significant Films here.

In my list, I tried to be representative of different film genres and included some “art house” and foreign films, as well as more popular films. I wasn’t too concerned with a film’s box office success, though there are some successful films in my list. And, of course, I readily admit to including some of my personal favourites.

Update: You may also want to check out my “Essential Films of 2005 for Theologians – Extended Edition” here.

Top Ten Fourteen Essential Films for Theologians

(Listed in alphabetical order)

The Apostle (Robert Duvall, 1997; IMDb; Buy from Amazon.ca or Amazon.com). Robert Duvall’s sympathetic portrayal of Euliss “Sonny” Dewey, a southern Pentecostal preacher, is masterful. While this movie may hit too close to home for some Christians, it reveals the conflict within the life of faith as Sonny, a deeply religious person, struggles with his rage and sensuality.

Balthazar (Au hasard Balthazar; Robert Bresson, 1966; IMDb; Buy from Amazon.ca or Amazon.com). The film follows the life of a humble donkey named Balthazar through a series of masters, paralleled by the life of a young woman, Marie. The cinematography and score are both magnificent. The film has a sparse and evocative feel to it. It’s the type of film that you could view repeatedly and ponder endlessly (as the critics appear to do). I’m not sure if Bresson meant it to be understood typologically or allegorically, but such a reading would certainly fit with Balthazar portrayed as an unassuming Christ figure. At the very least it narrates the life of a simple beast of burden who humbly accepts the cruelty of his masters. The simple grace in this movie reminds me of another classic, Gabriel Axel’s Babette’s Feast (Babettes gæstebud; 1987).

The Big Kahuna (John Swanbeck, 1999; IMDb; Buy from Amazon.ca or Amazon.com). This unassuming film about three lubricant salesmen, one of whom is an evangelical Christian, contains some of the most compelling dialogue around matters of faith, integrity, and manipulation I have seen.

Blade Runner (Ridley Scott, 1982; IMDb; Buy from Amazon.ca or Amazon.com). This classic science fiction film explores what it means to be human as Deckard, a “blade runner” played by Harrison Ford, has to track down and terminate four replicants that are virtually indistinguishable from humans. Based on the short book Do Androids Dream of Electric Sheep? by Phillip Dick, the dark look and feel of this film inspired innumerable science fiction films. While the DVD transfer of the Director’s cut is not that great (it was one of the first DVDs made), rumour has it that a multi-disc special edition is set to be released in time for its 25th anniversary in 2007. Other science fiction films that are worthy of mention include Stanley Kubrick’s masterful 2001: A Space Odyssey (1968), The Matrix (1999) by the Wachowski brothers (the first is by far the best), and Dark City (Alex Proyas, 1998).

(Of course, I also have to give honourable mention to the original Star Wars (George Lucas, 1977) and the original trilogy (I have not been impressed with any of the prequels). I have to confess that I saw the original Star Wars around 17 times in the theatre when it first was released. I also had made myself a light sabre (a painted dowel; not like one of the fancy ones available now), dressed up as a Jedi knight, and had virtually every Star Wars model available. Truth be told, not much has changed. I have been able to watch Star Wars with my kids and my four-year-old son and I frequently have light sabre battles in the living room (a painted dowel no longer have I). In sum: I still like it after all of these years even if some parts are a bit cheesy (And I still think Princess Leah looks hot in her “Jabba the Hutt” golden bikini). I have included this film on my extended list not only because it has profoundly shaped popular culture, but because its a parable of the epic struggle between good and evil.)

The Decalogue (Dekalog; Krzysztof Kieslowski, 1989; IMDb; Buy from Amazon.ca or Amazon.com). This ten-part series of films was originally aired on Polish TV in the 1980s. Each episode narrates a story, set in the same apartment block, that is loosely tied to one of the Ten Commandments (as enumerated in the Catholic tradition; see my blog entry here for other enumerations).

For 6,000 years, these rules have been unquestionably right. And yet we break them every day. People feel that something is wrong in life. There is some kind of atmosphere that makes people now turn to other values. They want to contemplate the basic questions of life, and that is probably the real reason for wanting to tell these stories. – Krzysztof Kieslowski on The Decalogue.

Each episode is well done and thought-provoking, though I found 2, 5, 6, and 7 particularly meaningful. Kieslowski’s more popular and widely distributed Three Colors Trilogy: Blue, White, and Red (Trois couleurs: Bleu, Blanc, et Rouge; 1993-4) are also worthy of mention.

Jesus of Montreal (Jésus De Montréal; Denys Arcand, 1989; IMDb; Buy from Amazon.ca or Amazon.com). This Canadian production tells the story of a troupe of actors who stage a passion play in Montreal — so controversial that the Catholic Church wants to shut it down. As the pressure to stop production mounts, the personal lives of the individual cast members begin to take on the persona of the characters in the play — especially for Daniel (played wonderfully by Lothaire Bluteau) who plays the role of Jesus. Other Jesus films that deserve mention here are The Gospel According to St. Matthew (Il Vangelo secondo Matteo; Pier Pablo Passolini, 1964), The Last Temptation of Christ (Martin Scorsese, 1988), and The Passion of the Christ (Mel Gibson, 2004). I also am fascinated by Gareth Davies’s Son of Man (1969), though I have not been able to locate a full copy and consequently have not viewed the entire film.

Magnolia (P.T. Anderson, 1999; IMDb; Buy from Amazon.ca or Amazon.com). This is perhaps my favourite film. It is a thought-provoking exploration of “the sins of the fathers,” forgiveness, and redemption as the lives of nine individuals interconnect one day in San Fernando Valley, California (its title is from one of the San Fernando Valley’s principal thoroughfares, Magnolia Boulevard). The ensemble cast is marvellous, the direction and cinematography superb, and the soundtrack by Aimee Mann moving. And what can I say about the frogs?! If I was going to number this list, I would have to put this as film number 8.2!

The Mission (Roland Joffre, 1986; IMDb; Buy from Amazon.ca or Amazon.com). This film is an absolutely beautiful yet troubling exploration of the question of grace and redemption, love and hate, and what it means to lay down your life for your faith and friends. Its cinematography and musical score are moving and deservedly won awards. Set in 18th century South America, this film raises questions — and provides no easy answers — about the Christian mission, war, and slavery. Simply superb. Other films that have similar themes and garner special mention include Black Robe (Bruce Beresford, 1991), Romero (John Duigan, 1989), and At Play in the Fields of the Lord (Hector Babenco, 1991).

Monty Python’s Life of Brian (Terry Jones, 1979; IMDb; Buy from Amazon.ca or Amazon.com). If we can’t laugh at ourselves, then something is wrong. Eric Idle himself is reported as saying, “If anything can survive the probe of humour it is clearly of value, and conversely all groups who claim immunity from laughter are claiming special privileges which should not be granted” (hmmm… do you think this quote is relevant to a current international news story?). But this film is not all laughs — it actually presents aspects of the time of Jesus somewhat accurately, such as the ubiquitous messiahs and prophets during that period as well as the sheer diversity with Judaism at that time. In the humour/satire category I would also include Dogma (Kevin Smith, 1999), Saved! (Brian Dannelly, 2004), and Keeping the Faith (Edward Norton, 2000).

Wings of Desire (Der Himmel uber Berlin; Wim Wenders, 1987; IMDb; Buy from Amazon.ca or Amazon.com). I was first introduced to the German director Wim Wenders through the music video for U2’s song “Stay (Far Away, So Close).” This films explores what it means to be human from the perspective of angels as it follows the lives of two angels as they comfort and help lost souls in Berlin, one of whom decides he wants to become human. While Hollywood has remade the story as City of Angels (Brad Silberling, 1998), the original is superior on all accounts. I should also mention Wim Wender’s collaboration with U2’s frontman Bono on The Million Dollar Hotel (Wim Wenders, 2000). While this film has its flaws, Jeremy Davies’s portrayal of Tom Tom is one of the best Christ figures in recent film.

Late Additions

I figured my original list was lacking in four genres: war films, westerns, gangster films, and fantasy. Most films in these genres explore the myth of redemptive violence, and as such are worthy of theological reflection. Other excellent films that explore this theme include Batman Begins (Christopher Nolan, 2005) and In the Bedroom (Todd Field, 2001).

The Godfather Saga (Francis Ford Coppola, 1972, 1974, and 1990; IMDb; Buy from Amazon.ca or Amazon.com). Don Corleone made me an offer I couldn’t refuse, so I had to add this trilogy to my list. The first two in the series are superior, and I think the first is the best. One of my favourite scenes is at the end of the first film when you have the juxtaposition of Michael Corleone renouncing “Satan and all his works” at the baptism of his nephew and the executions of the heads of the other mob families. On the soundtrack, Bach’s organ music is punctuated by gunfire. Other mobster films that deserve mention include Goodfellas (Martin Scorsese, 1990) and The Untouchables (Brian De Palma, 1987).

The Lord of the Rings Trilogy (Peter Jackson, 2000, 2001, and 2002; IMDb; Buy from Amazon.ca or Amazon.com). I am a huge Tolkien fan and I loved Peter Jackson’s film adaptations of the Lord of the Rings. That isn’t to say that I agreed with all of Jackson’s modifications; in fact, I think Jackson and the screenwriter Fran Walsh are both Hollywood sell outs! Since when do Ents make rash decisions?! If there were any more unnecessary dramatic turns added, I would have sued for whip-lash! At any rate, these are ground breaking films that are surely worthy of mention!

The Thin Red Line (Terrence Malick, 1998; IMDb; Buy from Amazon.ca or Amazon.com). I have watched this film about the conflict at Guadalcanal during World War II many times and find its juxtaposition of war and (seeming) paradise haunting. It is visually beautiful and the writing is superb. The ensemble cast is excellent — especially the roles played by James Caviezel, Nick Nolte, and most notably Elias Koteas. Other great war films include Apocalypse Now (Francis Ford Coppola, 1979), The Deerhunter (Michael Cimino, 1978), Platoon (Oliver Stone, 1986), as well as the less know, though theologically relevant, films A Midnight Clear (Keith Gordon, 1992) and To End All Wars (David L. Cunningham, 2001).

Unforgiven (Clint Eastwood, 1992; IMDb; Buy from Amazon.ca or Amazon.com). What’s a list without a western? While there are many “shoot ’em up” westerns that are perhaps entertaining, Unforgiven is unique in that it deconstructs the typical western. The (anti)hero is unlovable, the gun fights are devoid of romanticism, and nothing is really settled at the end when the cowboy rides off into the sunset. “It’s a hell of a thing, killin’ a man. You take away all he has, and all he’s ever gonna have,” says Will. The Kid stammers, “I guess he had it comin’.” Will almost whispers: “We’ve all got it comin’, Kid.”

Last Thoughts

OK, I need to wrap this up. There are many more films which are worthy to be mentioned, such as Breaking the Waves, Chinatown, Contact, Dead Man Walking, Lawrence of Arabia, One Flew Over the Cuckoo’s Nest, Pulp Fiction, Shadowlands, Slingblade, The Shawshank Redemption, etc., etc., ad nauseum, but this list has to end!

What films do you feel are essential for theologians?