When Faith Kills
Sunday, June 27th, 2004Having written on “The Passion” in greater detail for the University of Chicago Press, I now believe the analysis in my earlier entries could go further in linking religious masochism to political violence and, perhaps, one of the crucial questions at the heart of Christianity: is ours a cult of violence or peace?
Gibson is right to cast the story of Jesus Christ—King—as an action movie. “The greatest story” has been told so many times, in so many ways, by so many different people, that it can only benefit from new and contemporary interpretations; in the vernacular, as it were.
But what his action hero lacks is a moral dimension. Gibson’s is an untroubled and unwavering Jesus, driven to doubt only by an onslaught of torture that would have killed a mere mortal. Likewise, by depicting Judas as wrestling with “real” demons, courtesy of computer animation, Gibson further compounds this disavowal of doubt—internal, psychological—as the fundamental human condition.
In sum, Mel Gibson, the recent convert, is arguing that only sinners have doubts. Real men soldier on: act first, ask questions later. Moreover, Gibon’s decision to place Satan front and center in the affairs of men further absolves even the guilty of their transgression. “Satan made me do it.” So much for the mystery of free will.
In my opinion—that is, according to my faith—this premise puts the cart before the horse. It reverses the experience of religion by making faith a precondition for experiencing the divine when, by most accounts, it is doubt—in the laws of man, in the laws of nature —which leads to an encounter with that which we can neither dominate nor ever fully comprehend.
The political implications of Gibson’s understanding of faith are significant. By choosing to make an action movie wherein the plot points are the Stations of the Cross and torture, alone, drives the narrative forward, the director has made an argument for a version of Christianity that is both militant and oddly militaristic. (The closing scene of his movie is scored with martial drums.)
In answering the third oldest question posed by the Bible—why does Cain kill Abel? why does man kill man?—Gibson has responded with a confused, heart-wrenching account that both laments violence and exploits it. In one scene, Gibson’s Jesus holds forth on “the enemies” that will soon persecute His friends. Why will they be persecuted? What drives these enemies? Their refusal to believe in the Gospels and the true identity of Jesus.
In other words, evil acts are perpetrated not by all mortals but by non-believers. Moreover, by glossing over—if not avoiding—the rich and deep teachings of Jesus, “The Passion” trivializes the radical pacifism at the heart of Christianity.
For if one takes into consideration the words and works of Jesus, his violent death is intended to be the last such offense. If we believe Jesus is the son of God, then his murder, an act of homocide, is also an act of deicide. The message: don’t kill one another because doing so kills God.
But, if you omit most of the teachings of Jesus and nonetheless wallow, masochistically, in his death by torture, the message of his final hours is much less generous. While Gibson’s statement of faith does not explicitly condone the killing of infidels, neither does it explicitly condemn such acts as blasphemy. By placing believers in a different category from those who refuse to accept Jesus as the Son of God, Gibson asks us to think less of them.
It’s not murder if you believe the victim is not a child of God. And while I am of the persuasion that we are all children of God, there are many who reject such claims.
Apparently, among them is not only the film director Mel Gibson, but, also, President George W. Bush.
[7/20/2004]
postscript: Voices in the modern American wilderness?
The New York Times columnist Nicholas Kristof asks: “Should we really give intolerance a pass if it is rooted in religious faith?”
Even more to the point, David Greeneberg explores the distinct faith of President George W. Bush in the New Yorker. Greenberg’s is by far one of the best reflections on the last four years that I have read.