Two Best Pictures

Driving Miss Daisy (1990) and 12 Years a Slave (2013)

One can’t look at the history of the Academy of Motion Picture Arts and Sciences without being puzzled by how often it gets things wrong -- particularly when it comes to the Oscar for Best Picture. Just look at 1990, when the award for Best Picture was given to Driving Miss Daisy.

Driving Miss Daisy isn’t really a bad film. It’s quite competently made with two great actors (Jessica Tandy and Morgan Freeman) in good form. With a script adapted from a well-written play, it doesn’t stray too far from its stage origins. It’s fine. But Best Picture?

The members of the directors’ caucus of the Academy didn’t think enough of the film to nominate director Bruce Beresford for his work on the film (though he'd been nominated, justly, for his work on Breaker Morant and Tender Mercies.)

There were certainly more entertaining films released in 1990, such as Indiana Jones and the Last Crusade, Bill and Ted’s Excellent Adventure, Batman, and the immortal Road House. 

There were more emotionally satisfying films like Say Anything, When Harry Met Sally, and the film most likely to make a man cry, Field of Dreams. 

There were more artistically audacious films such as Henry V, My Left Foot, Drugstore Cowboy, and UHF. There were even films that were more bold and insightful on the subject of race, like Glory and Do the Right Thing, either of which would have been a far better choice for Best Picture.

And even more unfortunately for this blog, Driving Miss Daisy doesn’t have much in the way of church or clergy. But there is some.

The film tells the story of an old woman, Miss Daisy (Tandy) who needs a driver. Her son (Dan Aykroyd) hires an African American chauffeur (Freeman) and an unlikely friendship develops between driver and driven. Miss Daisy is Jewish and attends synagogue, but this blog is about Christian churches. The synagogue in the film seems nice enough, though people seem to attend more to meet social than spiritual needs. In fact, Miss Daisy accuses her daughter-in-law of a horrible social crime: “socializin’ with Episcopalians."

A Christian church makes a brief appearance for a funeral service where the choir gives a spirited rendition of “What a Friend We Have in Jesus.” (About the best thing about the church and the synagogue in the film is their good music programs.)

There is one prominent Christian clergyman in the film, the Reverend Doctor Martin Luther King.

When the great civil rights leader speaks at a local dinner, Miss Daisy is excited and happy to attend. She doesn’t invite her friend Hoke to join her (though he drives her to the event, of course -- and she has an extra ticket). Though she claims to be a supporter of civil rights, she doesn’t think of Hoke as a person worthy of such an august social affair. So Hoke listens to the dinner speech on the radio in the car outside of the dinner.

Beresford made a really odd filmmaking choice in this scene. We hear King’s speech, but we don’t see the speaker. Using film footage of King speaking or using an actor to play the role, but instead, we hear a tinny recording of the great man, experiencing the speech rather like Hoke listening in the car. This choice might have been forced on the filmmakers by the King estate, notorious for their tight grip on the handling of MLK’s image.

A much more worthy recipient of the Best Picture Oscar was 2013’s 12 Years a Slave. Director Steve McQueen (not to be confused with the iconic, but deceased, actor) brought the true story of Solomon Northup (Chiwetel Ejiofor), a free man, who was abducted and sold as a slave. As the title indicates, he was enslaved for twelve years.

It’s a powerful story and a helpful balance to the romanticized images of slavery presented in older films like Gone With the Wind.

And though we don’t see depictions of formal churches or clergy in the film, there are three informal gatherings of slaves that could be called “church” for good and ill.

Northup’s first owner, William Ford (Benedict Cumberbatch), gathers his slaves for the reading of Scripture, and he seems to believe it is for their benefit. He reads passages from the Gospels, including Jesus’ command to care for the “least of these,” without seeming to grasp the irony of the moment. Ford’s good intentions contrast sharply with Northup’s second owner, Edwin Epps (Michael Fassbender), who only reads the slaves passages of Scripture admonishing them to obey their masters and justifying his use of the whip. Far better than either of these is when the slaves gather by their own choosing to memorialize a murdered companion, comforting each other as they sing “Roll, Jordan, Roll”. This feels like the only true church in the film.

The combined churches and clergy in the two receive a Movie Churches rating of Two Steeples. That nasty Epps really brings the averages down.

Robin Hood Movie Month Continues with a Yank in the Lead

Robin Hood: Prince of Thieves (1991)

In Mel Brooks’ 1993 spoof, Robin Hood: Men in Tights, Prince John asks Robin why anyone should listen to him. Robin (Cary Elwes) responds, “Because, unlike other Robin Hoods, I can speak with an English accent.”

What other Robin Hood could he be referring to? There’s no doubt he’s referring to Kevin Costner in 1991’s Robin Hood: Prince of Thieves. (I do appreciate that the title added PoT, making it so much easier to Google than other Robin Hood films.)

Directed by Kevin Reynolds (Costner worked with him on Waterworld as well), this telling of the story has Robin of Locksley join Richard the Lionheart on the Crusades, but Robin is captured imprisoned in Jerusalem. After escaping, he returns to England with a Muslim companion, Azeem (Morgan Freeman). When he reaches land, Robin kisses the ground, giving thanks to God. He learns that King Richard is still in France and the land is ruled by the Sheriff of Nottingham (Alan Rickman). Prince John is strangely absent in this version, but the Sheriff is aided by Guy of Gisborne, Mortianna the Witch, and the Bishop of Hereford (Harold Innocent).

Robin tries to go home, but learns that his father, Lord Locksley (Brian Blessed), is dead. This is especially poignant because when Robin left, his father had called the Crusades a foolish quest. The Bishop welcomes Robin back, saying, “I see the boy I knew in the man before me. Welcome home, John Locksley.” But Robin learns that the Bishop isn’t really so...welcoming.

The church had accused Robin’s father of heresy, which his father denied -- further proof of his guilt. Robin’s father was killed by the church, as other wealthy landowners were killed, so the church could confiscate their goods.

The Bishop doesn’t have a problem with the Sheriff consorting with a witch with an upside down cross. Nothing heretical to be seen there.

Robin encounters a band of outlaws led by Little John and Will Scarlet. Robin not only joins the crew, but becomes their leader, training them for battle. They rob from the rich, which includes the clergy, that past through Sherwood Forest. When the Merry Men encounter a drunken clergyman, Little John greets him, “Welcome to Sherwood, Friar! You travel in poor company when with the Sheriff’s soldiers.”

Not making this up.

Friar Tuck, who’s pulling a wagon filled with kegs of beer (“the Lord’s brew”) won’t willingly surrender. He battles Robin -- even biting his leg -- but Tuck eventually admits defeat. Robin asks him to join them, to minister to his men and, well, make beer.

Tuck is a fan of beer. At various times he says, “Let us learn of God’s bounty, though beer” and “This is grain, which any fool can eat, but for which the Lord intended a more divine means of consumption. Let us praise our Maker and glory in His bounty by learning about...beer!” He even offers a drink to Robin’s Muslim friend.

“Alas, I am not permitted,” Azeem tells him.

“Then you talk, and I’ll drink,” the Friar replies.

But even with this fondness (perhaps over fondness) for brew, the Friar is still a much better clergyman than the Bishop, though the Bishop does provide some churchly duties. He prays for God’s blessing on the Sheriff of Nottingham’s mission to pursue the outlaws of Sherwood Forest. (The Sheriff smirks throughout the prayer.)

But most of what the Bishop does is fairly reprehensible. Robin’s father, the Lord of Locksley, is just one of many noblemen he accuses of heresy and kills in order to take his land and property. He schemes with the Sheriff to solidify the lawman’s power by marrying Maid Marian (Mary Elizabeth Mastrantonio). Robin threatens to stop the marriage (which is against Marian’s wishes), and the Bishop attempts to perform the ceremony even as the Sheriff tries to consummate the marriage (and yes, it is as bad as that sounds).

In the end, Friar Tuck who must confront the Bishop, who is trying to escape the wrath of Robin Hood.

Friar Tuck: “So you sold your soul to Satan, Your Grace? You accused innocent men of witchcraft and let them die.”

The Bishop: “Brother Friar, you would not strike a fellow man of the cloth?”

Friar Tuck: “No, no, I wouldn’t. In fact, I’ll help you pack for your journey.”

The Friar weighs the Bishop down with sacks of treasure, “You’re going to need lots of gold to help you on your way. Here’s thirty pieces of silver to pay the Devil… on you way to hell!” And Tuck shoves the Bishop out a high window.

After Friar Tuck avenges Robin’s father, he performs a more conventional clerical duty for the outlaw, performing the ceremony when Robin marries Maid Marian.

For our Movie Churches Steeple Rating this week, we’ll take an average of the two prominent clergymen in the film. The Bishop of Hereford receives our lowest rating of one Steeple for greed and murder and abetting attempted rape. Friar Tuck fights for what’s right, so he receives our second highest Three Steeples. (Habitual drunkenness keeps him from our highest rating of four). Between the two, the clergy of Robin Hood: Prince of Thieves receive the average rating of Two Steeples.





(Above I mentioned Robin Hood: Men in Tights, Mel Brooks’ spoof of the Robin Hood story. It really didn’t have enough Christian clergy to merit a Movie Churches post, as the most prominent clergy in the film is Rabbi Tuckman, played by Brooks himself. There is an Abbot in the film played by Dick Van Patten that has my favorite line of the film. Some calls out to him, “Hey Abbot!” sounding much like Lou Costello, and the Abbot says, “I hate that guy.” If you have no idea what I’m talking about, see Abbott and Costello Meet Frankenstein, stat!)

Clint Eastwood Month: Your Arms Too Short to Box with God

Million Dollar Baby (2004)

“Boxing is about respect; getting it for yourself and taking it away from the other guy.” That’s a line from  Eddie “Scrap-Iron” Dupris, the narrator played Morgan Freeman in Clint Eastwood’s Million Dollar Baby. (If you want quick improvement for your film, have Morgan Freeman narrate it. See March of the Penguins and The Shawshank Redemption.)

Back to that remark about boxing and respect. It makes sense, because boxing could be described as the ultimate competition. One person fights another, with one winner and one loser. Million Dollar Baby is about boxing -- particularly a woman boxer, Maggie, played by Hilary Swank, with an elderly manager, Frankie played by Eastwood.

But the film’s problem for Movie Churches is the priest. He seems to view ministry as a competition, too. Brian F. O’Byrne plays Father Horvak, and he’s not a good priest. Not a bad priest, you know, relatively speaking here at Movie Churches. We’ve had molesters and murderers in the clergy here at Movie Churches, and he’s nothing like that. But he doesn’t do his job well.

Frankie, a cut man and boxing trainer, has been attending mass almost every day for 23 years, according to Father Horvak. (This is a bit puzzling, because actor O’Byrne was 37 when he made this film. Perhaps the priest began pastoring this church when he was 14?)

As viewers, we’re able to see that Frankie has a genuine faith. We see him alone in his room, kneeling by his bed to pray. He crosses himself and prays for his daughter and adds, “You know what I want, no use repeating myself.”

Later, we see Frankie coming out of church. The church sign reads, “Church of St. Mark.” (I wondered if there was if any churches have such a church name, since I’ve only seen names like, “St. Mark’s Catholic Church,” The Apostles are usually possessive when it comes to titles. But I did find a few churches with such names when I Googled around.)

Frankie approaches the priest and tells him, “Father, that was the best sermon yet, you made my week.”

The priest asks “What’s confusing you this week?”

“It’s the same one God, three God thing.”

“Frankie, most people figure out by kindergarten it’s about faith.”

“Is it sort of like Snap, Crackle, and Pop all three in one box?”

“Are you standing in front of my church comparing God to Rice Krispies?The only reason you come to church is to wind me up. There is one God.”

“What about the Holy Ghost?” Frankie asks.

“He’s an expression of God’s love.”

“And Jesus?”

“Son of God. Don’t play stupid.”

“So, he’s like a demigod?” Frankie asks.

“There are no demigods, you @#%@&ing pagan!” replies the priest.

I’m not that upset by a priest using a naughty word. What bothers me about this whole exchange is that the priest, after years, still allows himself to get involved in silly theological arguments when he knows that’s not the point. The priest admits later in the film he knows, “The only person that goes to church that much is the kind that can’t forgive himself for something.”

But instead of trying to help Frankie deal with his guilt, offering Christ’s forgiveness, the priest only adds to Frankie’s guilt. He continually asks Frankie whether he writes his daughter. And Frankie always says he does. And the priest calls him a liar, but the viewer knows Frankie does write to his daughter but gets them back, “Return to sender.” The priest is worse than useless in this counseling situation.

He’s even worse when Frankie comes to him with the greatest moral crisis of his life. (Spoiler alert! The movie’s been around for almost fifteen years, but skip to the end if you don’t want to know what happens next.)

His boxer, Maggie, has a tragic accident in the ring. Her neck is broken, and she becomes a quadriplegic. The doctors have no hope for a cure. So Maggie asks Frankie to kill her.

Frankie goes to church to pray for Maggie, and then he goes to the priest. The priest tells Frankie he can’t kill Maggie.

Frankie, obviously wrestling mightily with his conscience, says,  “I know, Father. But Maggie is so stubborn. But now she wants to die and I just want to keep her with me. And I swear to God, Father, it’s committing a sin to do it, but by keeping her alive I’d be killing her. Do you know what I mean? How do I get around that?”

“You don’t,” the priest says. “You step aside, Frankie, you leave her to God.”

“She’s not asking for God’s help. She’s asking for mine.”

‘Frankie,” the priest says, “Whatever sins you’re carrying, they’re nothing compared to this. If you do this thing, forget about God or heaven or hell. If you do this thing, you’ll be lost. Somewhere so deep you’ll never find yourself again.”

Just for starters, it’s never a good thing for a priest to say, “Forget about God,” because all the priest has to offer is God. And next, it is wrong to talk about sins, even euthanasia, as being unforgivable. I believe euthanasia is wrong, but there are many who have quite understandable reasons for committing the act. A priest can advise against it, but talking about it as something Frankie recover from is just wrong. Jesus said (in Matthew 12: 31), “Therefore I say to you, every sin and blasphemy will be forgiven men, but the blasphemy against the Spirit will not be forgiven.” I’ve read many explanations of what ‘blasphemy against the Spirit’ might be, but none of them have said it was euthanasia.

The worst thing about the priest in this situation is that he doesn’t even offer to visit Maggie himself. Leaving the church grounds seems to be too much of an effort for him. But he doesn’t approach anything from a positive perspective.

He could tell Frankie (and Maggie), the story of Joni Eareckson Tada, a woman who found that God can use her in mighty ways though she’s a quadriplegic. But the priest doesn’t bring up Joni and Friends, only more guilt.  

So Frankie commits euthanasia and never returns to the church -- which seems to have been Father Horvak’s goal all along.

The film Million Dollar Baby was widely lauded, winning Oscars for Best Picture, Best Director for Eastwood, and Best Actress for Swank; but the Movie Church and the priest in the film are not so acclaimed. They earn only 2 Steeples.