Amazing Grace is one of those movies that, if you’re not careful, can sneak past without much notice or protest. Most people I’ve talked to haven’t even heard of the movie. It is truly unfortunate because I found this film to be quite the diamond in the rough.
Perhaps it is the title that scares even would-be supporters of the film to steer clear. Even though Christianity is supposedly a commercial hotspot right now after The Passion of the Christ, any time “Christian” movies (films that are produced by companies spawned out of the Christian subculture) actually find their way to theaters or the rental store, they are avoided like the plague by the bulk of the populace, because, well, let’s be honest, these movies just plain suck. I’m thinking of Left Behind, Omega Code, Hangman’s Curse and the like. Thankfully this film is not in that vein.
The title is derived from the famous hymn of course, but what you may not have realized is that this hymn was written by a former slave trader-turned pastor named John Newton, who also had a profound impact on a man named William Wilberforce. Wilberforce was the man who for years fought against the institution of slavery in the British parliament and was instrumental in its abolition long before America would follow suit. The film focuses on Wilberforce, the abolitionist, so like 2005’s Capote, is less a biography, than the chronicle of one aspect of a man’s life. It is an engrossing aspect, and the story is well written, directed and acted.
There are a couple of dinger moments. One exchange goes something to the effect of: “So you’re saying you found God?” And all us Christians respond in unison with Wilberforce, “I think He found me.” This kind of thing can be forgiven, though, because elsewhere, the writer, Steven Knight, crafts some really witty repartee, and is often downright profound.
Ioan Gruffudd gives an earnest and believable performance as Wilberforce, and Steven Knight, has infused this portrait of the man with nobility and at the same time frailty, ensuring that we not only root for him, but also identify with him. The supporting cast is peopled by the likes of Michael Gambon, Ciaran Hinds, and Albert Finney (character actors you will recognize, but probably won’t be able to place); all of whom turn in outstanding performances. Albert Finney is absolutely wonderful as Wilberforce’s mentor pastor John Newton.
Some have complained that there is not enough of the horror and atrocity of slavery actually depicted onscreen, and that perhaps the subject has been Disney-fied beyond recognition. But this movie is not seeking to be Amistad or Schindler's List, and to impose that expectation on the film is unfair. Again, the film centers on William Wilberforce the abolitionist, and in spite of its lack of visual aids, it recreates his own abhorrence for slavery very well.
One critic claimed that Wilberforce is not worthy of real heroism because he’s rich and retreats to his well-established estate when not fighting slavery. The writer must have forgotten that Wilberforce leaves his doors open to peasants who overrun his house in one scene. This is not the socially conscious hypocritical celebrity activist of the present, who villifies the president and then returns home to his mansion that dwarfs the president's and does nothing about the problem. This is a man whose rhetoric was not separated from his lifestyle, but whose whole life rang with cohesion.
This movie challenged me, and I think all Christians should watch it to remind us that while we are in this world, we need to be advocates of the truly downtrodden, because even with all our study of the Word, we often leave behind those numerous commands to care for the poor in favor other, more esoteric or advantageous propositions. I hope non-Christians watch the movie as well, to see that there have been great men of God who, though frail and weak like the rest of us, did more than just talk about love or prepare for eternity, but actually helped make this world a better place.
**** out of ****
Monday, March 19, 2007
Monday, February 19, 2007
Night at the Museum
Night at the Museum is another in a long line of films adapted from children's picture books. Think movies like Jumanji, Zathura and (croak) Polar Express. Like Jumanji, this film has its share of wild beasts, magical objects and a nice dose of suspense. It's a good-humored film that doesn't aim to high, and ,I think, reaches its mark.
Ben Stiller takes on the role of hopeless dreamer Larry Daley (a la Jack Black's Nick Vanderpark in Envy). He is a father whose belief in far-fetched ideas like "The Snapper" (a device which allows you to turn on lights by snapping your fingers) have kept him from committing to a stable job. His ex-wife gives him an ultimatum to find a job, or she will seriuosly consider decreasing his time with his son.
A job agency finds him a position at a museum, but the secretary warns him that the supervisor has turned all apllicants away. The supervisor, named Cecil, is played by Dick Van Dyke who is joined by veteran character actor Bill Cobbs and film legend Mickey Rooney. While there's nothing particularly inspired about Rooney's one-liners, I couldn't help but laugh every time he was onscreen. He cracked me up the entire time. The guy's first screen appearance was in 1930 for crying out loud!
Chaos ensues when Daley is left alone in the museum along with all this genre's cliches: he loses the item that will enable him to do his job, he screws everything up, he makes that oh-so-notorious blunder protagonists always make in these "you gotta believe" movies by expecting people to believe him when he tells them that all the exhibits come to life at night. Oh, well, you don't come to watch this movie for believability, but I sometimes wonder why screenwriters always use the same ploys. Isn't there a better way to heighten tension than to make your hero look like a numbskull? Half the time I almost want the hero/heroine to fail in these movies because they act so naieve.
I actually enjoyed the movie in spite of its predictability. Owen Wilson was funny, and Stiller had his usual "boy is this awkward?" moments that provided some laughs. The special effects were very well done, and overall it's a fun movie.
Rating: **1/2 out of ****
Subscribe to:
Posts (Atom)