“THE line is thin between faith and madness.” So says historian Adam Goodheart in The mission (Cert. 12A). He talks about John Chau, the young American missionary killed in 2018 while illegally contacting a tribe on a remote island in the Indian Ocean. The National Geographic film is now in theaters. We get details about Chau’s background, but also, overall, an unbiased assessment of the effectiveness and ethics of missionary work.
Chau’s desire for dangerous endeavors stems from films such as The Adventures of Robinson Crusoe, as well as Tintin and Christian comics such as Through the gates of splendor, during which the missionaries were massacred. It seems unlikely that his moderate religious background led to martyrdom. It was only when he was drawn into evangelical circles that he began to believe he was destined to travel into forbidden territory.
He traveled to North Sentinel Island, part of the Andaman archipelago, the place from which King Kong emerged in the 1933 film. By law, the Indian government has protected this area and its indigenous populations from any external interference. Perhaps this ban prompted Chau to believe that doing the work of Christ knew no geographic or political boundaries. He paid pirates to transport him there. Accessing his diary, social media correspondence, and other documents, Emmy-winning directors Amanda McBaine and Jesse Moss chart his progress.
Chau’s inner thoughts are visualized using the animation medium that helped inspire his quest. The images from the library sometimes complement what we learn about him. The remainder focuses on capturing the thoughts of relatives, friends, and those interested in the phenomenon of missiology. Few approve of Chau’s actions. Another member of his “accountability group” says: “My friend did something stupid, brave and bold. And I wish I had been so bold. I wish my faith was that strong. It’s up to others in the documentary to discover and wonder what kind of faith this really is.
Dan Everett, now a linguistics professor, was previously a longtime missionary. Disillusioned by colonial evangelization and the conviction of having “the Truth”, he is skeptical. Proselytizing is little more than telling a story about ourselves, without getting into someone else’s.
Chau himself seems to confirm this cultural imperialism. Faced with the mistrust and hostility of the islanders, he wonders if this is Satan’s last bastion. A missionary trainer objects to such a view. She suggests that it is important that people have the opportunity to say yes or no to Jesus. Much work goes into teaching students respect, sensitivity and understanding of ethnic differences.
Chau’s father, a psychiatrist, comes in from a different angle, convinced that his son had a messianic complex that led him to what he perceives as delusional behavior. Goodheart would agree that, historically, personality disorders have played some role, alongside a Westernized view of Christianity, in missionary fervor. At its best, the film portrays a naive but well-meaning person who wants to bring good news to others. He feared that rejection would send them to hell. The islanders believe they are already in paradise.
TRIP TO BETHLEHEM (Cert. PG) is a gripping rock nativity of a film. It is largely inspired by the story of Saint Matthew. There are no songs from Luke and no shepherds residing in the fields, for example.
Filling in the narrative gaps leads to some interesting speculation. There is a comedy trio of Magi (pronounced madge-eye), whose party piece is a rendition of “Three Wise Guys.” Balthazar is described as the astrologer, Caspar as a great scholar, and Melchior as a cartographer who eats a lot. He even suggests that they take a detour on the road to Bethlehem to taste the date harvest.
Meanwhile, on the way to Nazareth, Mary (Fiona Paloma), in the absence of brothers, received a thorough education from her father. Now an impressive student of Scripture, she wants to make it her life’s work. This feminist and liberationist perspective on Notre Dame is all well and good until she is subjected to an arranged marriage to a foreigner.
Mary protests to her conformist friends by singing and dancing throughout town before coming across a young man offering fruit. It’s an all-too-predictable meeting moment; because (guess what?) that magnificent piece of eye candy is Joseph (Milo Manheim) – not that the course of true love runs smoothly, thanks to the intervention of a bumbling Gabriel, who tells Mary that ‘she is pregnant. He is left out in his fiery response, which has none of Luke’s passivity (“Be it done to me according to your word”).
Fiona Paloma, who plays Mary in Journey to Bethlehem
Joseph requires some convincing before giving in to the strong theme of the film, ultimate confidence. Is everything going as it should, the pair ask in a duet with “Can we make this work?” »
It is essentially a romantic comedy in the best American tradition. The story is conveyed through strong emotions, color, vigor, honesty and, of course, beautiful white teeth. Rather than escape, we experience the power of love that comes from above, despite a murderous Herod listening to them. Antonio Banderas plays the image of the pantomime villain. It’s so good to have the power of a king, he tells his son (Joel Smallbone), who, contrary to the story, is here called Antipater. Appearing as a lost soul, he exerts a moderating influence on his father’s absolute evil.
We may be spared the slaughter of innocents on screen, but the threat to Christ’s existence is horribly reported. All too soon the cross, the nails, the drilling will come. Flight to Egypt is imperative, but first comes the worship of the Magi. Smelling of sheep dung from their journey, they apologize to the Son of God for some hygiene problems they are having. Such comic relief effectively counteracts the simple terror of persecution. The Holy Family is by no means eternally optimistic. The question remains: is this all part of God’s plan?
Like medieval mystery plays, the film speaks to its contemporary audience. Humanity faces the same challenges. Adam Anders directs and co-writes the screenplay and songs. It offers a thoughtful interpretation of the Nativity. An opening credits read: “Inspired by a true story. . . the greatest ever told. We are inclined not only to agree, but also to greatly appreciate it.