Monthly Archives: May 2012

Raiders of the Lost Ark (1981)

Raiders of the Lost Ark is one of the greatest adventure movies of all time. I was inspired to rewatch Raiders after Love Your Movies post reminded me of all the great things about it. Raiders is full of memorable action setpieces from the temple escape, the basket game in Cairo, the fight at the airstrip, and memorable supporting characters like Marion and Major Toht, witty dialog and an unforgettable score.

Raiders is also full of history, Biblical and occult references which others have no doubt analyzed, but it’s the raiders’ approach to archaeology that is worth exploring. In a bar in Cairo, Belloq an archaeologist assisting the Nazis, seeks to persuade Indy to help out with the search for the Ark:

Belloq: You and I are very much alike. Archeology is our religion, yet we have both fallen from the pure faith. Our methods have not differed as much as you pretend. I am but a shadowy reflection of you. It would take only a nudge to make you like me. To push you out of the light.
Indiana: Now you’re getting nasty.

The religion of archaeology in Raiders wonders primarily in the discovery of artifacts from times and places long forgotten. Belloq remarks about his watch, that even though it is only worth $10, if he buries it today, in 1000 years someone will dig it up as a priceless artifact.

But Indy and Belloq seek objects much more significant than clocks: religious artifacts. The Nazis seek the Ark of the Covenant believing it wields great power and can help them in their pursuit of world domination. Indy tends to see such things as treasures to be hunted and stored in museums or at least in his personal collection.

And perhaps this is what Belloq means that they have both fallen. When Belloq says “History!”, he reminds Indy of his fallen-ness, persuading Indy to relent from destroying the Ark, and tempting him to be a part of the history that is his obsession.

The wonder surrounding certain objects like the Ark in Raiders initially appears to reside within the object itself. We see a similar response to archaeological finds such as the Shroud of Turin in which the wonder ends at the object, and not in the one whose face (is purported to have) left the imprints on it. And similarly, in Indiana Jones and the Last Crusade, Indy uses the cup without reference to the one who, according to the movie, provided it.

Events in Raiders, though, are consistent with Biblical ideas about the ark in that there were bad consequences for those who should not have possessed the ark:

The Philistines took the Ark to several places in their country, and at each place misfortune befell them (1 Sam. 5:1-6). At Ashdod it was placed in the temple of Dagon. The next morning Dagon was found prostrate, bowed down, before it; and on being restored to his place, he was on the following morning again found prostrate and broken. The people of Ashdod were smitten with hemorrhoids; a plague of rats was sent over the land (1 Sam. 6:5). The affliction of boils was also visited upon the people of Gath and of Ekron, whither the Ark was successively removed (1 Sam. 5:8-12).

The ark itself, though, doesn’t rend these judgements, but rather the One who gave the ark (and who owns it). And we see this distinction in Raiders in the spectacular conclusion, even if the raiders primary interest is the object itself.

In the Old Testament, God chose to reveal himself to Moses on a mountain, in tents, and then in the temple system, but he is by no means constrained by those locations, or warehouses for that matter. God created the universe, including the materials from which an ark is made. Then in the New Testament, we meet Jesus, the Word of God tabernacling with us in human form (see John 1). Then as the Holy Spirit is poured out, following the death and resurrection of Jesus, God comes to people and begins to act in and through them. The evidence of God’s power is not in spectacular acts of judgement but in spectacular acts of love, joy, peace and patience (Galatians 5:22-25, Ephesians 2:8-10). And it all begins with events that happened in real history, recorded by eyewitnesses and passed down through generations.

In the end, Indy doesn’t save the world from the Nazis. God does. Indy is smart enough to know that no-one can see God and live (Exodus 33:20). But if you really want to get a glimpse of God’s judgement, the Bible says look to Jesus on the cross.  If you want to see how much God loves, the Bible says look to Jesus on the cross. For there, Jesus bears the punishment which our sins deserve. All of us. Nazi or not.

Switch Me On (Shannon Noll)

Aussie pop-rocker Shannon Noll’s Switch Me On draws on Biblical imagery to describe a wayward life but to what is he restored? The song starts by describing a dark place:

I never thought that I’d find myself there
The darkest place that I’ve ever been
I never thought that I’d take this life for granted, but I did

He realizes the possibility of exchanging everything for fame is no longer the appealing vision of earlier days:

I would’ve given it all when I was younger
I would’ve given up everything for a taste
Of the life and the lights and the crowds
But my mind wasn’t right, they were lies

With good song-writing technique, verse 2 expands on the story:

There was a story my old man told me when I was young
He said the measure of a man ain’t in his bank account
He said be careful of the things you say and what you do
And all the people that you’ve got hangin around with you
And I lost my way, prodigal son
Of who I am and where I’m from
Ooh, I was blind but now I see

Here we have allusions to Jesus teaching on

  • one’s life not consisting in the abundance of his possessions (Luke 12:15)
  • caution regarding words (Matthew 12:34) and actions (Matthew 5-8), and
  • the prodigal son (who leaves his father for reckless living in Luke 15), to refer to the distance the singer found himself from his family roots (his “old man”, “where I’m from”).

The giving up everything from verse 1 for “a taste of the life and the lights” could even be interpreted as an exchange of one’s soul to gain the world (Mark 8:36). Verse 2 uses lyrics from the famous John Newton hymn Amazing Grace to refer to this reboot of his life (“was blind but now I see”), in which someone comes along:

And you switched me, switched me on again
And you showed me what it’s like to live
When you found me I was empty
I was too far gone for anybody
Switch me, switch me on again, tonight.

Into this darkness, someone switches him on, showing him what living is after being too far gone – hopeless, helpless, and empty. Blaise Pascal attributes those feelings of searching, helplessness and emptiness, from which the singer is freed, to our need for God:

What else does this craving, and this helplessness, proclaim but that there was once in man a true happiness, of which all that now remains is the empty print and trace? This he tries in vain to fill with everything around him, seeking in things that are not there the help he cannot find in those that are, though none can help, since this infinite abyss can be filled only with an infinite and immutable object; in other words by God himself.

The switching-on also brings about a discovery of life purpose, but the lyric “looking in your eyes” would suggest a human relationship is responsible for this switching-on:

Tonight I’ve never felt so alive
Just looking in your eyes
I finally realized
What I’m doing with my life

In Ephesians 2, the apostle Paul describes the conversion of people as a change from death (‘too far gone for anybody’) to life:

As for you, you were dead in your transgressions and sins, in which you used to live when you followed the ways of this world…But because of his great love for us, God, who is rich in mercy, made us alive with Christ even when we were dead in transgressions —it is by grace you have been saved.

Indeed, many popular songs use salvation language to describe regenerating experiences in life and relationships – people recognize an incompleteness which is met to some degree in relationships. But this song doesn’t really use the categories of romantic love – the weight of the song is a man examining his life in light of his Christian heritage and finding he has strayed. At least, his desperate situation is framed in these terms.

Yet, the bridge indicates that a human relationship drives this transformation. The line almost seems out of place given the emphasis that his state is not caused by a perceived lack of romantic love but due to a lifestyle. Thus, Switch Me On also differs from other songs which use salvation language in regard to what the lead character is being saved into – a restoration to a lifestyle; specifically, his Christian-influenced family roots, as opposed to happiness or completeness.

Most would agree that Jesus was a good teacher and if people followed his teachings, they would certainly lead a better life. But Jesus doesn’t ask us to simply follow the moral content of his teachings. He demands a life-changing response – to deny ourselves and follow him. Jesus’ teachings and parables show how much we have lost our way, how far prodigals have strayed from God, while also offering new life in the kingdom of God, which he achieved through his death and resurrection. While Switch Me On is humble enough to admit the importance of living a good life, Jesus ultimately teaches that good living will result only when he switches you on.

On a personal note…

In addition to family, church and work commitments, I’m also a student. We’re getting towards the business end of semester so I expect my blogging intensity may be slightly reduced over the next few weeks while I finish some things up. I am planning a few small snippets, but for now, please enjoy one of my favourite Newton Faulkner songs, and one of the inspirations for beginning this blog, I Need Something:

I wonder how Newton is going with this.

Quick thoughts on Another Year (2010)

Another Year is four seasons in the life of a happy couple while everyone else around them is unhappy. It’s a movie about ordinary life, and as such features simple scenes and sets in suburbia, and naturalistic dialog including a brilliant continuous shot of a conversation around a table, in which the actors really shine.

In his book Hollywood Worldviews, Brian Godawa argues that every story involves the concept of redemption, which he defines as “the recovery of something lost or the gaining of something needed.” I was reflecting on Another Year in terms of redemption – what did the central characters, Tom & Gerri, recover, or what did they gain? They were happy and they interacted with some friends and family and their marriage was stable throughout the seasons. How did they change?

Look for a moment at the story arcs of those around Tom & Gerri, and there’s a lot going on. Each character is dealing with their unhappiness, which they do (to varying degrees) with Tom & Gerri’s help. I wonder if Tom & Gerri’s year is more about the ‘redemption’ of those around them, rather than themselves.

Often times being family and friends doesn’t seem exciting and dealing with them can seem tedious, difficult and inconvenient. But maybe life isn’t always about our story or maximising our happiness. And maybe marriage is meant to be for something bigger than a couple’s happiness too.

And yes – Tom & Gerri’s names are the subject of a joke, even in the trailer:

Taken (2008)

Justice and mercy take a beating as Liam Neeson punches and shoots his way to his daughter’s freedom in the 2008 movie Taken. Neeson stars as Brian Mills, an ex-CIA agent whose daughter is kidnapped by human traffickers.

Taken relies heavily on our sense of justice…or is it our desire for revenge – that bad people deserve bad things to happen to them. Thus, there is a horrible crime with horrible perpetrators, a helpless victim and a driven, capable rescuer, and the rescuer has the skills to deliver the kind of justice the law may not provide. Given the stakes, why wait for the legal system to catch up when justice is readily available in a handgun? These people are really evil so it seems appropriate that Mills destroy them, which he does with all manner of guns, vehicles and other weapons.

I found myself thinking, “You know what, if those people did that to a daughter of mine I would want someone to make them pay. They would be getting what they deserve.” It seemed appropriate that such scum should receive such treatment. With thrills a-plenty as the bad guys get their rewards, I connected easily with the lead character’s plight. Liam Neeson’s Mills is a force that cannot be reckoned with and the film clips along at a staggering pace.

One of the most disturbing moments in the film though was when Mills extracts information from one of the men involved. The bound man is tortured for information in a long drawn out scene which ends with Mills electrocuting him having succeeded with the extraction. And it is here that the film’s boldest statement on justice is made: No mercy. Ever. Mills could have turned him over to authorities for processing but there was no room for this in Mills’ sense of justice as he searches for his daughter.

From this point on the film snowballs, the body count mounts and it’s really anything goes, an all-out assault as Mills follows the leads to the very top. And the depiction of the father’s love for his daughter was satisfyingly touching. Mills went to extreme lengths to save her from the indignity of her enslavement and I was reminded of how God spared no expense to bring me out of the slavery of sin and make me His child, through a most violent means – the death of His son Jesus. This good news frees people from seeking revenge in order to seek justice (including judicial punishment), forgiveness, reconciliation, as difficult as that may be.

Human sex-trafficking is among the most disgusting crimes in the world. Taken makes this clear though it at times seems to serve as a vehicle for a revenge film. Yet something must be said of the way that Mills goes beyond the law to bring the perps to ‘justice’: perhaps if the one who was not shown mercy, had been shown mercy. Maybe he would have repented. Who knows how his life may have turned out? Instead, the saviour in Taken leaves him to fry in a dark basement. There can be no greater contrast with the Lord Jesus who conquers sin by dying in the place of sinners for sinners, and not completely destroying them…even if they thoroughly deserve it.