Since the production of The Birth of a Nation, Hollywood has lived with the mythic world imagined by artists who view the lives of people of color as footnotes and props. From Gone With The Wind to Django Unchained, the most difficult type of film for Hollywood to get right is the antebellum story of people of color.
Django, for example used the archetypes designed by Hollywood — “Mammy, Coon, Tom, Buck, and Mulatto,” to quote film historian, Donald Bogle — and exploit them in order to create a hyper-exploitation Western fantasy, with slavery as the backdrop. The film is a remix and critique of exploitation clichés, not a historical drama seeking to illuminate our consciousness. Django is a form of visual entertainment where enlightenment might happen through a close reading of the film. All the archetypes remain in place. Nothing is exploded or re-imagined, only remixed to serve the present age.
Steve McQueen’s 12 Years A Slave, on the other hand, sits within and outside the Hollywood fantasy of antebellum life. I say it sits within, because the archetypes forged by the celluloid bigotry of D.W. Griffith are present. But, in the hands of the gifted auteur, Steve McQueen, they are obliterated and re-imagined as complex people caught in a system of evil constructed by the immorality of markets, betrothed to mythical, biological, white supremacy.
Whenever I talk with people about Jesus and nonviolence, a curious thing happens. Someone will inevitably raise his hand (and it’s always his hand), call me a wuss, and then accuse me of making Jesus-Christ-Our-Lord-And-Savior into my own wussy image.
First, the accusation that I’m a wuss is totally true. No one can surpass my wussiness. I run from confrontation, and if I ever get into a fight my money is on the other guy.
Now, to the second accusation that a nonviolent Jesus is a projection of my own wussy imagination: That is false and, in fact, the reverse is true – a violent Jesus is a god made in our own image. As a self-professed wuss, I would love a bad-ass-machine-gun-toting Jesus who violently defends me against my enemies. I want the Jesus depicted in Saturday Night Live’s sketch DJesus Ucrossed. (A sketch satirizing Quentin Tarantino’s Django Unchained.) As David Henson brilliantly states in his post “DJesus Uncrossed: Tarantino, Driscoll and the Violent Remaking of Jesus in America,” the sketch “pulls back the curtain and shows us just how twisted our Jesus really is: We want a Savior like the one SNL offers. We want the Son of God to kick some ass and take some names. Specifically, our enemies’ names.”
In Revelation, Jesus is a prize fighter with a tattoo down his leg, a sword in His hand and the commitment to make someone bleed. That is a guy I can worship. I cannot worship the hippie, diaper, halo Christ because I cannot worship a guy I can beat up.
The fragility of life. The servanthood of love. The (im)morality of war. The fundamentals of mercy and justice. The power of grace and forgiveness. The oneness of creation. The personal (and spiritual) toll of climate change. The nature of God and faith. These are some of the spiritual themes explored in the mostly august field of nine contenders for the 2013 Academy Award for Best Picture — Amour, Argo, Beasts of the Southern Wild, Django Unchained, Les Miserables, Life of Pi, Lincoln, Silver Linings Playbook, and Zero Dark Thirty.
This week, in the run-up to Sunday's Academy Awards ceremony, we're taking a look at each of the Best Picture nominees, the stories they tell, and the spiritual questions (and answers) they offer. Today we turn our attention to Django Unchained, Les Miserables, and Life of Pi.