1
00:00:09,350 --> 00:00:15,060
Welcome to the 2007
Winifred lecture.

2
00:00:15,060 --> 00:00:18,600
If my counting exactly I
believe this is Number 33

3
00:00:18,600 --> 00:00:25,590
professor Rendleman is the 33rd
Weter lecturer that we've had.

4
00:00:25,590 --> 00:00:29,430
A wonderful competitive
faculty lecture that faculty

5
00:00:29,430 --> 00:00:31,200
applied for and was
selected by the

6
00:00:31,200 --> 00:00:34,065
faculty status committee
as part of the process.

7
00:00:34,065 --> 00:00:37,094
This particular lecture series

8
00:00:37,094 --> 00:00:39,045
began because of the vision

9
00:00:39,045 --> 00:00:44,135
and gifts of Ross and Barbara
Shaw who are here tonight.

10
00:00:44,135 --> 00:00:46,085
They're sitting up
there, wave your hand.

11
00:00:46,085 --> 00:00:53,370
Here we go [APPLAUSE].

12
00:00:53,370 --> 00:00:55,620
They kept it anonymous in

13
00:00:55,620 --> 00:00:58,280
quiet and only about four or
five years ago allowed us

14
00:00:58,280 --> 00:01:00,710
to acknowledge their role in

15
00:01:00,710 --> 00:01:03,680
this and we appreciate very
much what you have done.

16
00:01:03,680 --> 00:01:06,920
You'll notice in the
handout of the program,

17
00:01:06,920 --> 00:01:08,390
it tells you what you can

18
00:01:08,390 --> 00:01:11,000
do if you'd like to help
contribute to building

19
00:01:11,000 --> 00:01:16,560
the endowment around this lecture, which
would allow us to process and honor-

20
00:01:16,560 --> 00:01:18,830
It's called the Weter
lecture because it

21
00:01:18,830 --> 00:01:22,125
honors a wonderful former
colleague of ours,

22
00:01:22,125 --> 00:01:23,640
Dr. Winifred Weter,

23
00:01:23,640 --> 00:01:26,630
who just passed away a
little over a year ago at

24
00:01:26,630 --> 00:01:30,320
96. Who taught Classics
here for over 40 years,

25
00:01:30,320 --> 00:01:32,090
was a womens basketball coach,

26
00:01:32,090 --> 00:01:33,770
and a whole number
of other things

27
00:01:33,770 --> 00:01:34,820
she has done for us so it's

28
00:01:34,820 --> 00:01:37,310
a wonderful honor for
the faculty to be

29
00:01:37,310 --> 00:01:40,715
a part of this particular
lecture series.

30
00:01:40,715 --> 00:01:43,580
We welcome all of
you off-campus here,

31
00:01:43,580 --> 00:01:45,290
in particular, faculty,

32
00:01:45,290 --> 00:01:48,260
staff, students, and
all who are here.

33
00:01:48,260 --> 00:01:51,170
Without further ado, I'd like to

34
00:01:51,170 --> 00:01:53,660
introduce to you
Dr. Bruce Congdon,

35
00:01:53,660 --> 00:01:55,790
the College of Arts and Sciences

36
00:01:55,790 --> 00:01:58,100
who will introduce our
lecture . [APPLAUSE]

37
00:01:58,100 --> 00:02:08,630
I'd like to extend my
welcome as well to

38
00:02:08,630 --> 00:02:11,000
everyone who is here
to a great tradition

39
00:02:11,000 --> 00:02:15,170
that we have at Seattle
Pacific University.

40
00:02:15,170 --> 00:02:17,270
It's with a lot of honor and

41
00:02:17,270 --> 00:02:19,760
a little bit of irony that I
introduce tonight's speaker

42
00:02:19,760 --> 00:02:24,050
When I was growing up

43
00:02:24,050 --> 00:02:26,570
going to the movies
something that you

44
00:02:26,570 --> 00:02:28,790
didn't do if you
wanted to be a person.

45
00:02:28,790 --> 00:02:34,100
[LAUGHTER] Yet our speaker

46
00:02:34,100 --> 00:02:37,755
tonight not only loves
watching movies,

47
00:02:37,755 --> 00:02:41,975
made an attachment for his
wife and has found a way to

48
00:02:41,975 --> 00:02:48,215
integrate the appreciation of
movies with the Christian,

49
00:02:48,215 --> 00:02:51,485
I really appreciate
that about him.

50
00:02:51,485 --> 00:02:55,865
He has made the study of
movies a professional passion,

51
00:02:55,865 --> 00:02:59,735
and a means by which he
engages the popular culture.

52
00:02:59,735 --> 00:03:02,390
His preparation for
tonight's lecture

53
00:03:02,390 --> 00:03:04,050
actually began many years ago.

54
00:03:04,050 --> 00:03:05,900
He reports that he
had a great love of

55
00:03:05,900 --> 00:03:08,600
movies from a very young age.

56
00:03:08,600 --> 00:03:11,300
Movies put questions
into his mind

57
00:03:11,300 --> 00:03:15,560
that ultimately led him
towards Christian faith.

58
00:03:15,560 --> 00:03:18,140
Movies were the
means by which he

59
00:03:18,140 --> 00:03:20,870
responded to the
exhortation from

60
00:03:20,870 --> 00:03:23,930
Francis Shaffer to appreciate

61
00:03:23,930 --> 00:03:29,135
art and to use that
to the glory of God.

62
00:03:29,135 --> 00:03:31,370
His formal preparation from

63
00:03:31,370 --> 00:03:33,140
his faculty position in

64
00:03:33,140 --> 00:03:34,610
our Department of Communication

65
00:03:34,610 --> 00:03:35,960
and Journalism took place at

66
00:03:35,960 --> 00:03:38,090
the University of Illinois in

67
00:03:38,090 --> 00:03:42,845
Champaign Urbana where he
had a bachelor's degree,

68
00:03:42,845 --> 00:03:47,750
master's degree,
and in 1999 a PhD.

69
00:03:47,750 --> 00:03:50,045
The title of his
dissertation there

70
00:03:50,045 --> 00:03:52,325
was "Breaking the sound barrier,

71
00:03:52,325 --> 00:03:56,450
breaking faith: How some
evangelical Christians perceive

72
00:03:56,450 --> 00:04:01,015
representations of Christianity
in contemporary film."

73
00:04:01,015 --> 00:04:05,495
The scholarships since
then have focused on

74
00:04:05,495 --> 00:04:08,015
the analysis of perceptions

75
00:04:08,015 --> 00:04:11,680
of and by Christians
in the world of film.

76
00:04:11,680 --> 00:04:14,125
His teaching, research,

77
00:04:14,125 --> 00:04:16,790
and his mentoring of
students are energized by

78
00:04:16,790 --> 00:04:20,210
this tension between
his vision for

79
00:04:20,210 --> 00:04:24,200
evangelical Christianity
and his analysis

80
00:04:24,200 --> 00:04:27,430
of and love for movies.

81
00:04:27,430 --> 00:04:31,439
Money has many contributions
to the SPU community,

82
00:04:31,439 --> 00:04:34,085
Dr. Rendleman has
been the organizer

83
00:04:34,085 --> 00:04:36,965
of the image SPU Film Festival,

84
00:04:36,965 --> 00:04:38,480
and the faculty judged for

85
00:04:38,480 --> 00:04:41,065
the annual Emerson
film festival,

86
00:04:41,065 --> 00:04:44,740
which actually features
SPU student work.

87
00:04:44,740 --> 00:04:47,825
Tonight he leads us
in an exploration of

88
00:04:47,825 --> 00:04:51,755
images of evangelicals
in American film.

89
00:04:51,755 --> 00:05:09,500
Please welcome, Dr. Todd
Rendleman. [APPLAUSE]

90
00:05:09,500 --> 00:05:12,300
Thank you. To understand
the present we're going

91
00:05:12,300 --> 00:05:16,420
to go to the past
here for a moment.

92
00:05:17,990 --> 00:05:20,180
We're going to go back in time

93
00:05:20,180 --> 00:05:22,800
about 70 years to start things
off here because one of

94
00:05:22,800 --> 00:05:25,460
the extroadinary accomplishments
of the studio system as

95
00:05:25,460 --> 00:05:28,250
it evolved in the 20th
century was the star

96
00:05:28,250 --> 00:05:30,080
John Ram formulation where

97
00:05:30,080 --> 00:05:31,730
certain actors became
identified with

98
00:05:31,730 --> 00:05:35,835
certain studios and
certain types of movies.

99
00:05:35,835 --> 00:05:38,180
We're going to go back to 1938,

100
00:05:38,180 --> 00:05:40,310
just about 70 years ago,

101
00:05:40,310 --> 00:05:41,960
and there's a film,
a classic film

102
00:05:41,960 --> 00:05:44,610
called Angels with Dirty Faces.

103
00:05:45,020 --> 00:05:48,300
The studio is Warner Brothers.

104
00:05:48,300 --> 00:05:50,150
There's a alchemy here of

105
00:05:50,150 --> 00:05:53,180
just people working at the
very top of their craft,

106
00:05:53,180 --> 00:05:56,075
extremely talented people
give me 110 percent,

107
00:05:56,075 --> 00:05:57,680
Warner Brothers is
associated with

108
00:05:57,680 --> 00:05:59,660
the gangster film
primarily here,

109
00:05:59,660 --> 00:06:01,790
a socially conscious
movies of which

110
00:06:01,790 --> 00:06:04,820
Jimmy Cagney was one

111
00:06:04,820 --> 00:06:07,939
of the most important stars
after this particular studio.

112
00:06:07,939 --> 00:06:10,140
He embodied the tough-guy image,

113
00:06:10,140 --> 00:06:12,710
he was also very vulnerable
by the end of the movie.

114
00:06:12,710 --> 00:06:14,150
Solid support here from

115
00:06:14,150 --> 00:06:17,510
Pat O' Brien who would specialize
for Warner Brothers and

116
00:06:17,510 --> 00:06:19,760
compassionate carrier
priest who was also

117
00:06:19,760 --> 00:06:23,685
the friend to the
Cagney character.

118
00:06:23,685 --> 00:06:27,120
We have cinematography
by Sol Polito.

119
00:06:27,120 --> 00:06:29,190
Incredible star contrast in

120
00:06:29,190 --> 00:06:32,145
black and white and
beautiful work,

121
00:06:32,145 --> 00:06:34,905
very vivid photography
in this movie.

122
00:06:34,905 --> 00:06:36,660
The directorial end of

123
00:06:36,660 --> 00:06:39,465
Michael Curtiz who was
an extraordinary talent

124
00:06:39,465 --> 00:06:41,760
and this would usher

125
00:06:41,760 --> 00:06:44,880
in many great years of him
working for Warner Brothers,

126
00:06:44,880 --> 00:06:46,320
probably this come up with

127
00:06:46,320 --> 00:06:48,605
movies like Yankee Doodle Dandy,

128
00:06:48,605 --> 00:06:51,385
as well as Casablanca
and Mildred Pierce.

129
00:06:51,385 --> 00:06:53,870
In this particular
story, Rocky Sullivan,

130
00:06:53,870 --> 00:06:57,350
this is the very end of the
movie Angels Dirty Faces,

131
00:06:57,350 --> 00:07:01,845
Rocky Sullivan and the priest,

132
00:07:01,845 --> 00:07:05,365
Pastor Jerry, they were
childhood friends,

133
00:07:05,365 --> 00:07:07,615
but at a very young age,

134
00:07:07,615 --> 00:07:09,730
they both are running
from the law and

135
00:07:09,730 --> 00:07:11,890
one was caught and that
was Rocky and he was

136
00:07:11,890 --> 00:07:13,830
sent to juvie [LAUGHTER] and

137
00:07:13,830 --> 00:07:16,180
a life of crime
followed after that.

138
00:07:16,180 --> 00:07:18,280
Then the fellow who
was able to escape,

139
00:07:18,280 --> 00:07:20,560
Jerry would never have

140
00:07:20,560 --> 00:07:22,990
to go to prison and would
become a Catholic priest.

141
00:07:22,990 --> 00:07:25,900
Now, Rocky is on death row,

142
00:07:25,900 --> 00:07:27,610
this is the most
famous death scene in

143
00:07:27,610 --> 00:07:30,040
American movies until
Bonny and Clyde got in

144
00:07:30,040 --> 00:07:35,220
that car and [LAUGHTER]
[OVERLAPPING] CW,

145
00:07:35,220 --> 00:07:37,290
his father shake that tough.

146
00:07:37,290 --> 00:07:40,420
[LAUGHTER] It's a dramatic scene

147
00:07:40,420 --> 00:07:41,725
and it's an engaging one,

148
00:07:41,725 --> 00:07:43,120
and it will get our conversation

149
00:07:43,120 --> 00:07:44,710
started in just the
right direction here.

150
00:07:44,710 --> 00:07:47,695
Please enjoy this moment
from the classic film,

151
00:07:47,695 --> 00:07:49,355
Angels with Dirty Faces.

152
00:07:49,355 --> 00:07:52,515
How are you, father?

153
00:07:52,515 --> 00:07:53,190
How much time?

154
00:07:53,190 --> 00:08:02,429
About 10 minutes. [NOISE]

155
00:08:02,429 --> 00:08:04,905
Hi Jerry. What do you
hear? What do you say?

156
00:08:04,905 --> 00:08:06,705
Hello, Rocky. How do you feel?

157
00:08:06,705 --> 00:08:12,705
Like a million. How's
Soapy and the kids?

158
00:08:12,705 --> 00:08:14,145
Pulling for you all away.

159
00:08:14,145 --> 00:08:16,605
As long as there's the slightest
hope from the governor.

160
00:08:16,605 --> 00:08:19,005
They'll be easier to handle
without me, wouldn't they?

161
00:08:19,005 --> 00:08:25,680
That's up to you, Rocky.
We haven't a lot of time.

162
00:08:25,680 --> 00:08:27,480
I want to ask you
one last favor.

163
00:08:27,480 --> 00:08:29,100
There's not much left
that I can do, kid.

164
00:08:29,100 --> 00:08:31,290
Yes, there is
Rocky. Perhaps more

165
00:08:31,290 --> 00:08:33,405
than you could do under
any other circumstances.

166
00:08:33,405 --> 00:08:36,570
If you have the courage for
it and I know you have.

167
00:08:36,570 --> 00:08:38,705
Walking in there? That's
not going to take much.

168
00:08:38,705 --> 00:08:39,830
I know that Rocky.

169
00:08:39,830 --> 00:08:41,400
It's like a barber chair.

170
00:08:41,400 --> 00:08:42,540
They're going to ask, "You
got anything to say?"

171
00:08:42,540 --> 00:08:43,650
I'll say, "Sure, give me

172
00:08:43,650 --> 00:08:44,940
a haircut, a shave,
and a massage.

173
00:08:44,940 --> 00:08:46,650
One of those nice new
electric massages."

174
00:08:46,650 --> 00:08:47,850
[LAUGHTER]

175
00:08:47,850 --> 00:08:49,125
Aren't you not afraid Rocky?

176
00:08:49,125 --> 00:08:50,790
No, they'd likely me
to be, wouldn't they?

177
00:08:50,790 --> 00:08:52,080
But I'm afraid I can't
oblige them, kid.

178
00:08:52,080 --> 00:08:54,045
You know, Jerry,

179
00:08:54,045 --> 00:08:56,550
I think in order to be afraid
you got to have a heart.

180
00:08:56,550 --> 00:08:58,860
I don't think I got one. I had

181
00:08:58,860 --> 00:09:00,915
that cut out of me
a long time ago.

182
00:09:00,915 --> 00:09:05,045
Suppose I asked you to have
the heart, to be scared?

183
00:09:05,045 --> 00:09:05,975
What do you mean?

184
00:09:05,975 --> 00:09:07,580
Suppose at the last
minute the guards

185
00:09:07,580 --> 00:09:09,470
dragged you out here
screaming for mercy.

186
00:09:09,470 --> 00:09:11,525
Suppose he went to
the chair yellow.

187
00:09:11,525 --> 00:09:14,575
Yellow? Say, what's the
matter with you, Jerry?

188
00:09:14,575 --> 00:09:16,175
He's been worried
about my courage.

189
00:09:16,175 --> 00:09:19,625
I know that. This is a different
kind of courage Rocky.

190
00:09:19,625 --> 00:09:22,855
The kind that's well,
it's born in heaven.

191
00:09:22,855 --> 00:09:25,635
Well, not the courage
of heroics and bravado,

192
00:09:25,635 --> 00:09:29,565
the kind that you and
I and God know about.

193
00:09:29,565 --> 00:09:31,830
Still don't know what you mean.

194
00:09:31,830 --> 00:09:34,920
Look, Rocky, just
before I came up here,

195
00:09:34,920 --> 00:09:38,045
the boys saw me off on a train
Soapy and several others.

196
00:09:38,045 --> 00:09:40,520
You can well imagine
what they told me.

197
00:09:40,520 --> 00:09:44,925
"Father tell Rocky to show
the world what he is made of.

198
00:09:44,925 --> 00:09:49,080
Tell him not to be afraid
and go out laughing."

199
00:09:49,080 --> 00:09:50,850
What do you want? Am not

200
00:09:50,850 --> 00:09:52,365
going to let them down
if that's worrying you?

201
00:09:52,365 --> 00:09:53,780
That's what I want you to do.

202
00:09:53,780 --> 00:09:55,760
I want you to let them down.

203
00:09:55,760 --> 00:09:57,590
You see you've been a hero to

204
00:09:57,590 --> 00:10:00,230
these kids and hundreds of
others all through your life.

205
00:10:00,230 --> 00:10:02,180
Now you're going to
be a glorified hero

206
00:10:02,180 --> 00:10:04,360
in death and I want to
prevent that Rocky.

207
00:10:04,360 --> 00:10:07,005
They've got to
despise your memory.

208
00:10:07,005 --> 00:10:09,270
They've got to be
ashamed of you.

209
00:10:09,270 --> 00:10:11,370
You ask me to pull an act turn

210
00:10:11,370 --> 00:10:13,875
yellow so those kids
will think I'm no good?

211
00:10:13,875 --> 00:10:15,510
You're asking me to throw
away the only thing I got

212
00:10:15,510 --> 00:10:16,650
left the only thing they haven't

213
00:10:16,650 --> 00:10:18,015
been able to take away from me?

214
00:10:18,015 --> 00:10:20,640
You want me to give those
newspaper a chance to say,

215
00:10:20,640 --> 00:10:21,960
"Another rat turn yellow."

216
00:10:21,960 --> 00:10:23,730
Rocky, you and I will
know that you're not.

217
00:10:23,730 --> 00:10:25,545
You ask a nice
little favor, Jerry.

218
00:10:25,545 --> 00:10:27,875
Ask me to crawl on my belly
last thing I do in life.

219
00:10:27,875 --> 00:10:30,420
I know what I'm
asking. The reason I'm

220
00:10:30,420 --> 00:10:32,870
asking is because being
kids together gave

221
00:10:32,870 --> 00:10:35,780
him the idea that you might
like to join hands with me

222
00:10:35,780 --> 00:10:39,245
and save some of those other
boys from ending up here.

223
00:10:39,245 --> 00:10:41,410
You're asking too much. You
want to help those kids,

224
00:10:41,410 --> 00:10:42,770
you've got to figure
out some other way.

225
00:10:42,770 --> 00:10:45,175
It's impossible to do it
without your help Rocky.

226
00:10:45,175 --> 00:10:47,460
I can't reach all those boys.

227
00:10:47,460 --> 00:10:50,115
Thousands of hero-worshiping
kids all over the country.

228
00:10:50,115 --> 00:10:51,975
Don't give me that humanity
stuff again, will you?

229
00:10:51,975 --> 00:10:53,100
I had enough in the courtroom.

230
00:10:53,100 --> 00:10:54,675
Told everything I
knew, named names.

231
00:10:54,675 --> 00:10:55,950
Get them a load down
a whole dirty mess,

232
00:10:55,950 --> 00:10:57,125
what more do you want?

233
00:10:57,125 --> 00:10:59,350
What I have always wanted Rocky.

234
00:10:59,350 --> 00:11:02,350
Straighten yourself
out with God.

235
00:11:02,510 --> 00:11:06,990
Outside of that, I can't
ask for anything else.

236
00:11:06,990 --> 00:11:16,050
Well, don't. [NOISE]

237
00:11:16,050 --> 00:11:17,880
It's time Rocky, you are ready?

238
00:11:17,880 --> 00:11:25,260
Yeah. You figure on
going in with me?

239
00:11:25,260 --> 00:11:27,210
I'd like to Rocky. That is if.

240
00:11:27,210 --> 00:11:28,740
You can if you wish.

241
00:11:28,740 --> 00:11:30,015
Do you mind Father?

242
00:11:30,015 --> 00:11:31,185
Certainly not.

243
00:11:31,185 --> 00:11:32,910
That's better. Be kind

244
00:11:32,910 --> 00:11:35,260
of lonesome going
down that last mile.

245
00:11:37,400 --> 00:11:39,630
Promise me something.

246
00:11:39,630 --> 00:11:41,820
Promise me you won't
let me hear you pray.

247
00:11:41,820 --> 00:11:44,320
I promise you won't hear me.

248
00:11:47,060 --> 00:11:50,780
Get away from me, screw,
or I'll bust your face in.

249
00:11:50,780 --> 00:11:52,450
It'll be the last place you

250
00:11:52,450 --> 00:11:54,175
see big shot and it'll
be laughing at you.

251
00:11:54,175 --> 00:11:56,320
Don't get near me now, I'll
spit in your eye again.

252
00:11:56,320 --> 00:11:57,790
[NOISE]

253
00:11:57,790 --> 00:11:59,335
Stand back.

254
00:11:59,335 --> 00:12:01,940
Alson take care of it.

255
00:12:03,750 --> 00:12:07,045
I don't need anybody, come on.

256
00:12:07,045 --> 00:12:10,420
Atta-boy Rocky, pick
your own company.

257
00:12:10,420 --> 00:12:13,300
So long Rocky. We won't be long.

258
00:12:13,300 --> 00:12:49,120
So long Rocky.

259
00:12:49,120 --> 00:12:57,100
[MUSIC]

260
00:12:57,100 --> 00:12:58,850
Rocky please.

261
00:12:59,520 --> 00:13:10,120
No.

262
00:13:10,120 --> 00:13:17,740
[MUSIC] So long kid.

263
00:13:17,740 --> 00:13:26,140
Good bye Rocky. May God have

264
00:13:26,140 --> 00:13:34,310
mercy on you. [MUSIC]

265
00:13:34,310 --> 00:13:50,920
I don't want to die now, please.

266
00:13:50,920 --> 00:14:01,120
Please let go of me.

267
00:14:01,120 --> 00:14:10,480
Please don't kill me.

268
00:14:10,480 --> 00:14:18,640
Don't kill me please.

269
00:14:18,640 --> 00:14:26,290
Please don't kill me.

270
00:14:26,290 --> 00:14:29,450
Are you all right? He was
going to spit in my eye.

271
00:14:33,780 --> 00:14:37,495
We know from the tiers here

272
00:14:37,495 --> 00:14:44,680
that he in fact actually
does choose to die yellow.

273
00:14:44,680 --> 00:14:48,940
[LAUGHTER] We have
the community values

274
00:14:48,940 --> 00:14:51,130
tramping the individualistic
values here,

275
00:14:51,130 --> 00:14:52,420
which would be a very
meaningful message

276
00:14:52,420 --> 00:14:54,070
for the people who were
still struggling for

277
00:14:54,070 --> 00:14:56,125
the decade of the
depression here.

278
00:14:56,125 --> 00:14:58,420
It's much more striking
that we actually

279
00:14:58,420 --> 00:15:00,280
see the death and silhouette

280
00:15:00,280 --> 00:15:02,020
and just his hands

281
00:15:02,020 --> 00:15:05,335
grasping rather than
to show that directly.

282
00:15:05,335 --> 00:15:08,875
This is a dramatic scene
from a very important film.

283
00:15:08,875 --> 00:15:11,020
For the purposes of our
conversation tonight,

284
00:15:11,020 --> 00:15:16,825
we're going to focus on the
persona of the priest here.

285
00:15:16,825 --> 00:15:19,465
Because Patrick
O'Brian specialized

286
00:15:19,465 --> 00:15:20,980
in these characters here,

287
00:15:20,980 --> 00:15:23,590
and we can also look at a
scene from The Bells of

288
00:15:23,590 --> 00:15:27,520
St. Mary's by Leo
McCarey, made in 1945.

289
00:15:27,520 --> 00:15:31,870
We can also see Ingrid Bergman
and I think Crosby Clene,

290
00:15:31,870 --> 00:15:34,810
very patient and loving nuns

291
00:15:34,810 --> 00:15:38,395
and priests who were school
teachers as well here.

292
00:15:38,395 --> 00:15:42,400
One of the characteristics

293
00:15:42,400 --> 00:15:43,840
here that's unique
is that the priest

294
00:15:43,840 --> 00:15:45,445
says that he has integrity.

295
00:15:45,445 --> 00:15:47,980
He's somebody who
cares deeply about

296
00:15:47,980 --> 00:15:50,590
Rocky yet he also has
guilt because they

297
00:15:50,590 --> 00:15:52,300
both grew up in Kell's
Kitchen and he knows

298
00:15:52,300 --> 00:15:56,410
that he's had a more
privileged life

299
00:15:56,410 --> 00:15:57,685
because of something that seemed

300
00:15:57,685 --> 00:16:00,310
random at the time
during their childhood.

301
00:16:00,310 --> 00:16:03,415
We also know in the scene
that God approves of

302
00:16:03,415 --> 00:16:07,090
Rocky and he keeps his
word and prays for him,

303
00:16:07,090 --> 00:16:08,740
but not out loud
where no one can

304
00:16:08,740 --> 00:16:10,540
hear and we understand
the Rocky actually does

305
00:16:10,540 --> 00:16:13,420
have great encouraged when
he says that he's rejected

306
00:16:13,420 --> 00:16:15,280
here whenever he doesn't

307
00:16:15,280 --> 00:16:16,885
want have anything
to do with God here.

308
00:16:16,885 --> 00:16:19,810
Now, this is not an accident.

309
00:16:19,810 --> 00:16:21,340
The priests were portrayed
in this particular

310
00:16:21,340 --> 00:16:23,050
way during this decade,

311
00:16:23,050 --> 00:16:26,230
because to understand the
ways in which images of

312
00:16:26,230 --> 00:16:27,910
religious characters and so

313
00:16:27,910 --> 00:16:29,950
forth that evolved
over the years,

314
00:16:29,950 --> 00:16:31,120
you have to understand
a little bit about

315
00:16:31,120 --> 00:16:33,550
the history of what was
called the Production Code.

316
00:16:33,550 --> 00:16:36,200
Just briefly here.

317
00:16:37,110 --> 00:16:41,035
The Supreme Court's
momentous decision in 1950s,

318
00:16:41,035 --> 00:16:43,900
which was Mutual Film
Corporation versus Ohio.

319
00:16:43,900 --> 00:16:45,790
This was a Supreme Court
ruling that changed

320
00:16:45,790 --> 00:16:47,860
the face of American
entertainment in

321
00:16:47,860 --> 00:16:49,960
a particular movie entertainment

322
00:16:49,960 --> 00:16:52,450
for the next basically
half of a century.

323
00:16:52,450 --> 00:16:54,835
What happened was
basically in Ohio,

324
00:16:54,835 --> 00:16:57,820
African-American audiences
were very offended and

325
00:16:57,820 --> 00:17:00,730
troubled by racist images in

326
00:17:00,730 --> 00:17:03,880
DW Griffith's Birth of a Nation

327
00:17:03,880 --> 00:17:07,435
which value ranks
the Ku Klux Klan

328
00:17:07,435 --> 00:17:10,075
as heroes in that
particular film.

329
00:17:10,075 --> 00:17:12,340
People didn't want
this movie playing in

330
00:17:12,340 --> 00:17:13,660
their community because
they said this is

331
00:17:13,660 --> 00:17:15,595
offensive to us and
it shouldn't be seen.

332
00:17:15,595 --> 00:17:16,960
What that led to then was

333
00:17:16,960 --> 00:17:18,490
the Supreme Court
ultimately getting

334
00:17:18,490 --> 00:17:21,415
this decision
placed before them,

335
00:17:21,415 --> 00:17:25,375
and their ruling would alter
the face of American movies.

336
00:17:25,375 --> 00:17:27,655
Basically, they denied
motion pictures

337
00:17:27,655 --> 00:17:31,220
the ability to have free speech.

338
00:17:31,230 --> 00:17:34,495
Through denying the
protection of free speech,

339
00:17:34,495 --> 00:17:37,825
the industry in settling move
towards self-regulation.

340
00:17:37,825 --> 00:17:40,450
Because it just made no
sense to anybody to have

341
00:17:40,450 --> 00:17:41,890
different states
trying to design

342
00:17:41,890 --> 00:17:44,455
different moral codes
that would allow,

343
00:17:44,455 --> 00:17:46,720
and you could see potentially
a very different movie in

344
00:17:46,720 --> 00:17:49,195
Chicago than you could
in Bowling Green,

345
00:17:49,195 --> 00:17:53,230
Kentucky because individual
community standards,

346
00:17:53,230 --> 00:17:54,805
were moving toward
wanting to say

347
00:17:54,805 --> 00:17:56,530
this is appropriate, but
this isn't appropriate.

348
00:17:56,530 --> 00:17:58,705
For the studios to make good
economic sense they say,

349
00:17:58,705 --> 00:18:00,160
let's sensors movies and control

350
00:18:00,160 --> 00:18:02,020
the content at the
site of production,

351
00:18:02,020 --> 00:18:05,260
so that we won't have all
of these states warring

352
00:18:05,260 --> 00:18:06,640
against each other as to what is

353
00:18:06,640 --> 00:18:08,680
appropriate or inappropriate
is shown in a movie,

354
00:18:08,680 --> 00:18:10,630
and it will also back
off the threat of

355
00:18:10,630 --> 00:18:12,520
Federal government
regulation which

356
00:18:12,520 --> 00:18:14,750
was breathing down their necks.

357
00:18:15,150 --> 00:18:18,640
What that led to then
essentially were a series

358
00:18:18,640 --> 00:18:19,870
of precession and
rules as to what

359
00:18:19,870 --> 00:18:21,160
you could show,
what you couldn't.

360
00:18:21,160 --> 00:18:22,720
In the 1920s this was
already going on.

361
00:18:22,720 --> 00:18:24,400
It was called the
don'ts and be carefuls.

362
00:18:24,400 --> 00:18:27,100
[LAUGHTER] It was a safe presets

363
00:18:27,100 --> 00:18:28,240
of moral code that said what you

364
00:18:28,240 --> 00:18:30,130
could show, what
you couldn't show.

365
00:18:30,130 --> 00:18:33,114
Then that would evolve into
the Production Code of 1930,

366
00:18:33,114 --> 00:18:36,760
which would be a much more
official set of principles,

367
00:18:36,760 --> 00:18:38,680
but it was going on
well in the '20s.

368
00:18:38,680 --> 00:18:40,120
One of the great
ironies, there will be

369
00:18:40,120 --> 00:18:41,860
several ironies I'll
talk about here tonight.

370
00:18:41,860 --> 00:18:43,210
I guess the first one is that,

371
00:18:43,210 --> 00:18:46,090
whereas this particular ruling

372
00:18:46,090 --> 00:18:47,380
came from people
complaining about

373
00:18:47,380 --> 00:18:49,300
racist images in
American movies,

374
00:18:49,300 --> 00:18:51,070
the result of the
Production Code would

375
00:18:51,070 --> 00:18:53,590
actually institutionalize
racism for

376
00:18:53,590 --> 00:18:56,170
the next 50 years in
terms of the portrayals

377
00:18:56,170 --> 00:18:59,500
of people of different
ethnicities and so forth.

378
00:18:59,500 --> 00:19:01,300
That's unfortunate.

379
00:19:01,300 --> 00:19:02,770
One of the effects in terms of

380
00:19:02,770 --> 00:19:04,630
the conversation we're
having tonight was

381
00:19:04,630 --> 00:19:08,500
the implications for
perpetrators of the religious.

382
00:19:08,500 --> 00:19:10,450
Essentially, the code

383
00:19:10,450 --> 00:19:12,460
forbade the ridicule
of religious state and

384
00:19:12,460 --> 00:19:13,900
the representation
of ministers as

385
00:19:13,900 --> 00:19:16,735
comic characters or as villains.

386
00:19:16,735 --> 00:19:18,940
What this resulted in
was often going into

387
00:19:18,940 --> 00:19:22,315
Kashmir portraits of outcome,

388
00:19:22,315 --> 00:19:25,000
men and women who were
involved in ministry.

389
00:19:25,000 --> 00:19:27,430
To defend Institutional
and cultural authority

390
00:19:27,430 --> 00:19:29,395
and host of Catholics
and Protestants clerics,

391
00:19:29,395 --> 00:19:32,380
legacy organizations
influenced the development

392
00:19:32,380 --> 00:19:34,210
and the application of the code.

393
00:19:34,210 --> 00:19:36,460
This results in the images we've

394
00:19:36,460 --> 00:19:38,830
seen here in the words
at one film story,

395
00:19:38,830 --> 00:19:42,130
an industry largely financed
by Protestant bankers,

396
00:19:42,130 --> 00:19:44,725
operated by Jewish
studio executives,

397
00:19:44,725 --> 00:19:46,810
and released by
Catholic bureaucrats.

398
00:19:46,810 --> 00:19:49,330
[LAUGHTER] All the while

399
00:19:49,330 --> 00:19:52,330
claiming to be appealing
to grassroots America.

400
00:19:52,330 --> 00:19:55,450
Over the next 50 years
of emergent forces after

401
00:19:55,450 --> 00:19:56,950
the landscape of
representation of

402
00:19:56,950 --> 00:19:59,395
possibilities in
American movies.

403
00:19:59,395 --> 00:20:02,140
This will be the law of
the land for a while until

404
00:20:02,140 --> 00:20:03,850
the Supreme Court's
makes the 48 ruling

405
00:20:03,850 --> 00:20:05,080
in the United States

406
00:20:05,080 --> 00:20:07,300
versus Paramount Pictures
that basically forced

407
00:20:07,300 --> 00:20:08,860
the studios to the
best themselves of

408
00:20:08,860 --> 00:20:10,585
their theaters that they owned.

409
00:20:10,585 --> 00:20:12,595
They control, they were
vertically integrated.

410
00:20:12,595 --> 00:20:16,150
They were basically a mature
oligopoly, which is illegal.

411
00:20:16,150 --> 00:20:19,570
In '48, they were deemed
illegal and they had to settle

412
00:20:19,570 --> 00:20:23,170
off one of the points of
vertical integration.

413
00:20:23,170 --> 00:20:24,730
They chose to sell
off their theaters,

414
00:20:24,730 --> 00:20:27,700
but it prevented them from
having complete control from

415
00:20:27,700 --> 00:20:31,760
production to distribution and
exhibition of the process.

416
00:20:32,190 --> 00:20:34,930
That was couple of being
in the following decade,

417
00:20:34,930 --> 00:20:38,005
1952 in Butler versus Wilson,

418
00:20:38,005 --> 00:20:40,420
and that final decision
before the Supreme Court

419
00:20:40,420 --> 00:20:43,240
finally granted movies the
protection of free speech.

420
00:20:43,240 --> 00:20:45,735
With that then, your
change is slow.

421
00:20:45,735 --> 00:20:47,670
This is like in 1952
when we started

422
00:20:47,670 --> 00:20:50,585
exploring content in
radically different ways.

423
00:20:50,585 --> 00:20:52,600
That's why we think
of the 1960 's

424
00:20:52,600 --> 00:20:56,110
as a decade where people
are exploring concepts in

425
00:20:56,110 --> 00:20:58,750
movies that beforehand and you

426
00:20:58,750 --> 00:21:01,825
just simply weren't able
to depict in many ways.

427
00:21:01,825 --> 00:21:03,220
It's not an accident that in

428
00:21:03,220 --> 00:21:05,425
the first movie that we're
going to look at tonight

429
00:21:05,425 --> 00:21:07,960
actually came in
1970 because that's

430
00:21:07,960 --> 00:21:10,870
when there's a whole new
certain creative force

431
00:21:10,870 --> 00:21:12,160
working in American movies,

432
00:21:12,160 --> 00:21:13,540
and the content that you can

433
00:21:13,540 --> 00:21:17,515
portray could be
oriented not just from

434
00:21:17,515 --> 00:21:19,540
the ages of 8-90 by

435
00:21:19,540 --> 00:21:23,930
two adults or which means
whoever you wanted to.

436
00:21:23,970 --> 00:21:27,010
To illustrate the different
ways that religious identity

437
00:21:27,010 --> 00:21:30,070
has evolved over
the past 40 years,

438
00:21:30,070 --> 00:21:33,085
I'm going to identify
four specific types

439
00:21:33,085 --> 00:21:34,690
of evangelical representations,

440
00:21:34,690 --> 00:21:36,340
and these are not the
only types that exist,

441
00:21:36,340 --> 00:21:38,560
you can come up with other
ones that may or may

442
00:21:38,560 --> 00:21:41,049
not fall very cleanly into
the part of these categories.

443
00:21:41,049 --> 00:21:43,200
But they're certainly found

444
00:21:43,200 --> 00:21:45,390
in the American movies
over the past few decades.

445
00:21:45,390 --> 00:21:47,280
[NOISE] Now perhaps the

446
00:21:47,280 --> 00:21:49,290
most widely recognized
a typology,

447
00:21:49,290 --> 00:21:52,575
the very first one that
we'll look at here.

448
00:21:52,575 --> 00:21:55,040
There's one that's
very familiar to us.

449
00:21:55,040 --> 00:21:57,520
That's the Hypocritical
Evangelical.

450
00:21:57,520 --> 00:22:02,689
[LAUGHTER] Now, many
people cite Mash

451
00:22:02,700 --> 00:22:07,300
as a turning point in terms

452
00:22:07,300 --> 00:22:08,365
of representations at

453
00:22:08,365 --> 00:22:11,695
the evangelical characters
in American movies.

454
00:22:11,695 --> 00:22:15,085
The character of Frank
Burns in particular in

455
00:22:15,085 --> 00:22:18,340
Mash is the archetype
of a person here.

456
00:22:18,340 --> 00:22:20,290
Now when we think about the
Hypocritical Evangelical,

457
00:22:20,290 --> 00:22:23,290
we can think about
where the gap between

458
00:22:23,290 --> 00:22:24,970
the characters live values and

459
00:22:24,970 --> 00:22:28,060
the spouse values are
radically different.

460
00:22:28,060 --> 00:22:29,770
The character Frank Burns and

461
00:22:29,770 --> 00:22:31,150
Robert Baldwin still in Mash of

462
00:22:31,150 --> 00:22:34,750
1970 is basically a
milestone in this tradition.

463
00:22:34,750 --> 00:22:37,765
In 1970, the New York
Times declared Mash to be,

464
00:22:37,765 --> 00:22:39,475
"The first major American movie

465
00:22:39,475 --> 00:22:41,500
opened into ridicule
believe in God. "

466
00:22:41,500 --> 00:22:44,380
Not phony believe, real believe.

467
00:22:44,380 --> 00:22:47,110
Thinking the experiences
of a surgical team

468
00:22:47,110 --> 00:22:49,195
during the Korean war,

469
00:22:49,195 --> 00:22:52,000
this film explores the
antics of Hawkeye Pierce.

470
00:22:52,000 --> 00:22:53,140
It's acting as a metaphor for

471
00:22:53,140 --> 00:22:55,540
America's involvement in
Vietnam at this time,

472
00:22:55,540 --> 00:22:59,200
and Robert optimism excited
the director on the scene.

473
00:22:59,200 --> 00:23:02,410
Basically Hawkeye Pierce
in this film is played by

474
00:23:02,410 --> 00:23:05,260
Donald Sutherland That's
Kiefer Sutherland's dad.

475
00:23:05,260 --> 00:23:10,608
[LAUGHTER]

476
00:23:10,608 --> 00:23:13,390
John McIntyre, who was
played by Elliott Gould.

477
00:23:13,390 --> 00:23:15,040
They are two surgeons who
are just as likely to

478
00:23:15,040 --> 00:23:16,885
go off golfing or
drinking martinis,

479
00:23:16,885 --> 00:23:21,265
as they are operating on
people during the war.

480
00:23:21,265 --> 00:23:24,415
Basically, their nemesis are
the by-the-book Frank Burns,

481
00:23:24,415 --> 00:23:26,350
and he's played
by Robert Duvall,

482
00:23:26,350 --> 00:23:27,670
which you'll be
introduced to, and

483
00:23:27,670 --> 00:23:29,200
Margaret "Hot Lips'
O'Houlihan who

484
00:23:29,200 --> 00:23:30,325
was immortalized by Sally

485
00:23:30,325 --> 00:23:31,990
Kellerman in this
particular film.

486
00:23:31,990 --> 00:23:34,060
I'd mentioned that the
film's humor centers on

487
00:23:34,060 --> 00:23:36,100
the humiliation of this couple

488
00:23:36,100 --> 00:23:38,440
at the hands of
Pierce and McIntyre.

489
00:23:38,440 --> 00:23:40,210
Now, let's just
take a look here.

490
00:23:40,210 --> 00:23:43,150
This is the second scene where

491
00:23:43,150 --> 00:23:47,680
we're just being
introduced to Frank here.

492
00:23:47,680 --> 00:23:55,250
This is a scene from
Robert Altman's MASH.

493
00:23:55,250 --> 00:23:59,500
Attention. Attention. All
non-commissioned officers

494
00:23:59,500 --> 00:24:01,510
will report for short-arm
inspection at 04:00.

495
00:24:01,510 --> 00:24:04,070
That is all.

496
00:24:06,090 --> 00:24:07,915
What's that?

497
00:24:07,915 --> 00:24:09,790
That's my knife, Frank.

498
00:24:09,790 --> 00:24:12,730
Finest kind. I'm training
old John to be a bartender.

499
00:24:12,730 --> 00:24:14,470
Would you care to imbibe, sir?

500
00:24:14,470 --> 00:24:16,075
I don't drink.

501
00:24:16,075 --> 00:24:18,565
Jesus Christ, I
think he means it.

502
00:24:18,565 --> 00:24:20,410
I think we've been had, Hawkeye.

503
00:24:20,410 --> 00:24:21,550
I think you're right, babe.

504
00:24:21,550 --> 00:24:23,290
I don't think it's
right to involve

505
00:24:23,290 --> 00:24:25,345
a boy who is not
17 years old yet.

506
00:24:25,345 --> 00:24:26,740
You go to sleep now?

507
00:24:26,740 --> 00:24:27,550
Yeah.

508
00:24:27,550 --> 00:24:29,185
I go wash clothes.

509
00:24:29,185 --> 00:24:29,995
Okay.

510
00:24:29,995 --> 00:24:32,020
You make a mean martini
there little Ho-Jon.

511
00:24:32,020 --> 00:24:34,130
You keep it up, you hear?.

512
00:24:42,390 --> 00:24:44,650
Our Father, who art in heaven,

513
00:24:44,650 --> 00:24:45,955
hallowed be thy name.

514
00:24:45,955 --> 00:24:47,200
Thy kingdom come.

515
00:24:47,200 --> 00:24:49,270
Thy will be done on earth
as it is in heaven.

516
00:24:49,270 --> 00:24:51,520
You ever catch this
syndrome before, babe?

517
00:24:51,520 --> 00:24:52,870
Give us this day
our daily bread.

518
00:24:52,870 --> 00:24:54,070
No, not with anyone beyond

519
00:24:54,070 --> 00:24:56,005
the age eight years
old, I haven't.

520
00:24:56,005 --> 00:24:57,954
Lead us not into temptation,

521
00:24:57,954 --> 00:24:59,590
but deliver us from evil.

522
00:24:59,590 --> 00:25:02,530
For thine is the kingdom and
the power and the glory,

523
00:25:02,530 --> 00:25:05,095
forever and ever. Amen.

524
00:25:05,095 --> 00:25:06,370
Amen.

525
00:25:06,370 --> 00:25:07,930
Amen.

526
00:25:07,930 --> 00:25:11,305
Dear God, protect our young
men on the field of battle,

527
00:25:11,305 --> 00:25:14,110
that they may return
home to their dear ones.

528
00:25:14,110 --> 00:25:16,630
Dear God, protect our
supreme commander on

529
00:25:16,630 --> 00:25:20,680
the field and our commander
in chief in Washington DC.

530
00:25:20,680 --> 00:25:22,810
Frank, were you on this
religious kick at home,

531
00:25:22,810 --> 00:25:24,550
or did you crack up over here?

532
00:25:24,550 --> 00:25:27,520
Frank, how long does
this show go on?

533
00:25:27,520 --> 00:25:29,890
It gets longer all the time.

534
00:25:29,890 --> 00:25:32,860
Now I have your soul to pray
for and Captain Pierce's.

535
00:25:32,860 --> 00:26:25,390
[MUSIC] [NOISE]

536
00:26:25,390 --> 00:26:26,860
Now, whenever we have
an extreme close-up

537
00:26:26,860 --> 00:26:28,945
of any character's eyes,

538
00:26:28,945 --> 00:26:31,840
it suggests psychological
instability more times

539
00:26:31,840 --> 00:26:34,840
and so Frank indeed.

540
00:26:34,840 --> 00:26:38,500
This scene establishes
that he's uptight.

541
00:26:38,500 --> 00:26:40,015
That he's a fuddy-duddy.

542
00:26:40,015 --> 00:26:41,995
His hypocrisy comes into play

543
00:26:41,995 --> 00:26:44,890
whenever it's revealed
that Frank has a wife

544
00:26:44,890 --> 00:26:47,680
back home in the States
and yet he makes a pass at

545
00:26:47,680 --> 00:26:51,280
Hot Lips 'O'Houlihan and they
begin a very sordid affair.

546
00:26:51,280 --> 00:26:56,170
Basically, whenever Pierce
and Hawkeye find this out,

547
00:26:56,170 --> 00:27:00,430
they're able to reveal this
knowledge to the entire camp.

548
00:27:00,430 --> 00:27:02,305
Their affair is made public.

549
00:27:02,305 --> 00:27:04,240
I mentioned their embarrassment.

550
00:27:04,240 --> 00:27:07,780
The final scene of Frank
is critical because he

551
00:27:07,780 --> 00:27:09,280
actually is escorted away

552
00:27:09,280 --> 00:27:11,860
from the group in
a straight jacket.

553
00:27:11,860 --> 00:27:13,900
He completely does crack up,

554
00:27:13,900 --> 00:27:17,290
much as they suggest in
this particular scene.

555
00:27:17,290 --> 00:27:19,990
The idea is very clear here.

556
00:27:19,990 --> 00:27:21,370
His hypocritical faith produces

557
00:27:21,370 --> 00:27:22,735
psychological instability,

558
00:27:22,735 --> 00:27:24,460
while humanistic
irreverence provides

559
00:27:24,460 --> 00:27:27,595
necessary tools for
thriving in wartime.

560
00:27:27,595 --> 00:27:29,500
Clearly, MASH takes aim

561
00:27:29,500 --> 00:27:32,530
at all regimented
hierarchical structures,

562
00:27:32,530 --> 00:27:33,790
such as the military,

563
00:27:33,790 --> 00:27:37,210
as well as religious
organizations.

564
00:27:37,210 --> 00:27:39,415
But nonetheless, the
character of Frank Burns,

565
00:27:39,415 --> 00:27:41,170
with his hypocritical
Christian ethos,

566
00:27:41,170 --> 00:27:44,035
set an unprecedented standard
in the representation of

567
00:27:44,035 --> 00:27:47,935
Evangelicals as people who are
out of touch with reality.

568
00:27:47,935 --> 00:27:50,320
Now, another example that
we can look at here,

569
00:27:50,320 --> 00:27:55,300
and I'm actually going to
keep moving forward here.

570
00:27:55,300 --> 00:27:57,640
I'm not going to
show this clip here.

571
00:27:57,640 --> 00:28:02,185
This says enough right here
if you know John Lithgow.

572
00:28:02,185 --> 00:28:05,590
He's a colorful gifted actor.

573
00:28:05,590 --> 00:28:09,145
At Play in the Fields of the
Lord by Peter Matthiessen.

574
00:28:09,145 --> 00:28:11,050
A famous novel from the1960s was

575
00:28:11,050 --> 00:28:14,465
finally made into
a movie in 1991.

576
00:28:14,465 --> 00:28:16,590
This basically is the story of

577
00:28:16,590 --> 00:28:18,600
[NOISE] two different groups
of people who descend on

578
00:28:18,600 --> 00:28:24,260
a tribe in the Amazon and
the fictional Niaruna tribe.

579
00:28:24,260 --> 00:28:27,925
One group consists of
two mercenaries who are

580
00:28:27,925 --> 00:28:31,675
coming into the area to mine
it for all of its gold,

581
00:28:31,675 --> 00:28:33,875
essentially just
to raid the land.

582
00:28:33,875 --> 00:28:36,210
Four Christian
missionaries are coming

583
00:28:36,210 --> 00:28:37,980
from the States in an effort

584
00:28:37,980 --> 00:28:42,230
to convert the people there
to the Christian faith.

585
00:28:42,230 --> 00:28:44,290
They have very different
motivations here,

586
00:28:44,290 --> 00:28:45,550
but the results are the same,

587
00:28:45,550 --> 00:28:47,320
and both groups are

588
00:28:47,320 --> 00:28:50,125
basically responsible for
decimating the culture.

589
00:28:50,125 --> 00:28:52,195
John Lithgow plays the leader

590
00:28:52,195 --> 00:28:53,980
of the Christian missionaries.

591
00:28:53,980 --> 00:28:55,795
His name is Leslie Huben.

592
00:28:55,795 --> 00:28:58,435
His wife's name is Andy Huben.

593
00:28:58,435 --> 00:29:01,525
She's played by Daryl
Hannah in the film.

594
00:29:01,525 --> 00:29:04,750
The other missionaries
that are working with

595
00:29:04,750 --> 00:29:07,330
them are played by Aidan
Quinn and Kathy Bates.

596
00:29:07,330 --> 00:29:08,740
Kathy Bates had
just won an Oscar.

597
00:29:08,740 --> 00:29:10,675
This is her first
movie after that.

598
00:29:10,675 --> 00:29:13,030
Martin and Hazel Quarrier
and their little son Billy,

599
00:29:13,030 --> 00:29:15,820
they're new to missionary work.

600
00:29:15,820 --> 00:29:17,650
In this particular scene,

601
00:29:17,650 --> 00:29:19,810
this is the emotional
centerpiece of

602
00:29:19,810 --> 00:29:22,780
the film in that little Billy,

603
00:29:22,780 --> 00:29:24,310
a sweet little 8 year old boy,

604
00:29:24,310 --> 00:29:26,590
has caught blackwater
fever and as

605
00:29:26,590 --> 00:29:29,230
such he passed away the
night before this scene,

606
00:29:29,230 --> 00:29:33,700
and so they're burying their
son on the mission field.

607
00:29:33,700 --> 00:29:35,410
Of course, the parents
are very distraught.

608
00:29:35,410 --> 00:29:37,240
At this point in the film,

609
00:29:37,240 --> 00:29:41,455
Leslie opens his bible
and starts reading.

610
00:29:41,455 --> 00:29:43,990
Then he begins screaming at

611
00:29:43,990 --> 00:29:45,550
them and quoting scripture

612
00:29:45,550 --> 00:29:47,275
in ways that are
very insensitive.

613
00:29:47,275 --> 00:29:49,525
He's angry at them that they are

614
00:29:49,525 --> 00:29:52,600
struggling with how
God would allow

615
00:29:52,600 --> 00:29:55,180
the loss of their child
as they were actually

616
00:29:55,180 --> 00:29:58,390
seeking to do missionary work.

617
00:29:58,390 --> 00:30:00,790
You can imagine this.
John Lithgow is a very,

618
00:30:00,790 --> 00:30:02,710
like I said, colorful actor

619
00:30:02,710 --> 00:30:04,825
who isn't afraid to
go over the top here.

620
00:30:04,825 --> 00:30:06,010
In this particular film,

621
00:30:06,010 --> 00:30:12,580
Leslie's defensive and
condescending throughout, and it's

622
00:30:12,580 --> 00:30:16,630
a little bit offensive
monologue that he has here.

623
00:30:16,630 --> 00:30:18,070
With broad flourishes like

624
00:30:18,070 --> 00:30:20,230
John Lithgow's high-pitched
performance in this film,

625
00:30:20,230 --> 00:30:22,780
the movie of the play
leaves no stone unturned

626
00:30:22,780 --> 00:30:24,535
in creating a very
striking portrait

627
00:30:24,535 --> 00:30:25,570
of the hypocritical Christian.

628
00:30:25,570 --> 00:30:27,100
Now, he's not just nobody.

629
00:30:27,100 --> 00:30:29,110
He's hypocritical in that,
by the end of the film,

630
00:30:29,110 --> 00:30:31,450
it is revealed that he
actually struck a deal with

631
00:30:31,450 --> 00:30:34,300
corrupt local
officials in an effort

632
00:30:34,300 --> 00:30:38,260
for the missionary group
to collaborate with

633
00:30:38,260 --> 00:30:40,420
corrupt politicians
who they were hoping

634
00:30:40,420 --> 00:30:42,775
that they would pacify the
group of people there.

635
00:30:42,775 --> 00:30:45,250
His hypocrisy is that he
says one thing but secretly

636
00:30:45,250 --> 00:30:46,510
does another but doesn't reveal

637
00:30:46,510 --> 00:30:48,445
that truth to his teammates.

638
00:30:48,445 --> 00:30:50,680
That's a little bit
about the play.

639
00:30:50,680 --> 00:30:54,340
Now, Peter Kosminsky's
film, the White Oleander,

640
00:30:54,340 --> 00:30:56,350
in 2002 demonstrates that

641
00:30:56,350 --> 00:30:58,180
the hypocritical evangelical
does not have to

642
00:30:58,180 --> 00:31:02,170
be pompous or male or fatherly.

643
00:31:02,170 --> 00:31:08,125
[LAUGHTER] In this
particular movie,

644
00:31:08,125 --> 00:31:10,720
the character is played by

645
00:31:10,720 --> 00:31:14,120
the very lovely
Robin Wright Penn.

646
00:31:16,860 --> 00:31:21,310
This is based on Janet
Fitch's very popular novel

647
00:31:21,310 --> 00:31:22,900
White Oleander.

648
00:31:22,900 --> 00:31:24,160
The book and the movie explores

649
00:31:24,160 --> 00:31:26,455
a young girl's search for
family and for identity.

650
00:31:26,455 --> 00:31:30,250
After her mother is imprisoned
for murdering her lover,

651
00:31:30,250 --> 00:31:32,350
a young girl named Astrid
in this film played by

652
00:31:32,350 --> 00:31:34,600
Allison Lohman is basically

653
00:31:34,600 --> 00:31:37,615
shuttled from one foster
home to the next.

654
00:31:37,615 --> 00:31:39,490
Her first stop is in Texas under

655
00:31:39,490 --> 00:31:41,980
the care of Starr played
by Robin Wright Penn,

656
00:31:41,980 --> 00:31:43,210
a chain-smoking, evangelical

657
00:31:43,210 --> 00:31:45,310
Christian who is a
recovering drug addict.

658
00:31:45,310 --> 00:31:47,110
[LAUGHTER] She
immediately quizzes

659
00:31:47,110 --> 00:31:48,520
Astrid when she picks her
up from the airport and

660
00:31:48,520 --> 00:31:50,500
she's trusted in Jesus Christ

661
00:31:50,500 --> 00:31:52,450
as her Lord and Savior, so
that's very much over and below.

662
00:31:52,450 --> 00:31:55,840
Her skin type wardrobe nails

663
00:31:55,840 --> 00:31:57,760
Fitch's description in
the book when she writes,

664
00:31:57,760 --> 00:31:59,935
"She looked like she was
going to a cocktail lounge,

665
00:31:59,935 --> 00:32:02,935
not the Truth
Assembly of Christ."

666
00:32:02,935 --> 00:32:06,160
Now, what is at first a
spirited evangelical caricature

667
00:32:06,160 --> 00:32:08,260
turns ugly when Starr
suspects that her lover

668
00:32:08,260 --> 00:32:10,240
is attracted to Astrid in

669
00:32:10,240 --> 00:32:13,735
this particular scene
from White Oleander.

670
00:32:13,735 --> 00:32:21,610
Astrid, honey. Astrid.
Come on in here a minute.

671
00:32:21,610 --> 00:32:32,180
[NOISE] Oh, sit
down. I won't bite.

672
00:32:36,770 --> 00:32:39,405
You having fun here, aren't you?

673
00:32:39,405 --> 00:32:41,610
Making yourself at home,
getting comfortable?

674
00:32:41,610 --> 00:32:48,220
A little too
comfortable, I'd say.

675
00:32:48,710 --> 00:32:50,820
I might not be some genius,

676
00:32:50,820 --> 00:32:51,945
but I'm getting your game,

677
00:32:51,945 --> 00:32:54,015
and believe me, it
takes one to know one.

678
00:32:54,015 --> 00:32:55,440
One what?

679
00:32:55,440 --> 00:32:58,590
Always hanging around,
handling his tools,

680
00:32:58,590 --> 00:32:59,820
"What's this for Uncle Ray,

681
00:32:59,820 --> 00:33:01,665
can I help you, Uncle Ray?"

682
00:33:01,665 --> 00:33:04,080
I'm not doing anything.

683
00:33:04,080 --> 00:33:06,330
I'm calling Children Services.

684
00:33:06,330 --> 00:33:07,650
I want you to know, it's

685
00:33:07,650 --> 00:33:09,090
all over for you, little missy.

686
00:33:09,090 --> 00:33:11,670
[OVERLAPPING] Don't but me.

687
00:33:11,670 --> 00:33:14,100
He is a man and he

688
00:33:14,100 --> 00:33:16,755
sees what he sees and
he does what he can.

689
00:33:16,755 --> 00:33:19,380
I've got a nice
thing going here.

690
00:33:19,380 --> 00:33:21,960
Ray is the best man I ever had,

691
00:33:21,960 --> 00:33:25,390
and I've lived too long and
come too far to blow it now.

692
00:33:26,690 --> 00:33:29,565
I never had a father.

693
00:33:29,565 --> 00:33:34,830
Don't. I've got myself and
my own kids to worry about,

694
00:33:34,830 --> 00:33:37,125
you and me, we hardly
know each other.

695
00:33:37,125 --> 00:33:40,060
I don't owe you a thing.

696
00:33:41,570 --> 00:33:44,220
Jesus would give me a chance.

697
00:33:44,220 --> 00:33:48,930
Well, I'm not Jesus.
Not even close.

698
00:33:50,830 --> 00:33:53,600
There's hypocrisy is confirmed

699
00:33:53,600 --> 00:33:56,210
when later this
weekend and drunk and

700
00:33:56,210 --> 00:33:59,460
nocturnal rampage she
actually shoots Astrid would

701
00:33:59,460 --> 00:34:01,155
mean the girl is
sitting here on a path

702
00:34:01,155 --> 00:34:03,345
through emotionally
damaged foster parents.

703
00:34:03,345 --> 00:34:05,220
In this movie is parallelisms,

704
00:34:05,220 --> 00:34:07,020
having child
commitment represents

705
00:34:07,020 --> 00:34:09,030
yet another form of
family dysfunction,

706
00:34:09,030 --> 00:34:11,759
alongside the birth mother's
homicidal jealousy,

707
00:34:11,759 --> 00:34:14,010
as well as another foster
parent's determination

708
00:34:14,010 --> 00:34:15,225
to commit suicide.

709
00:34:15,225 --> 00:34:17,070
The hypocritical
episode was coming was

710
00:34:17,070 --> 00:34:19,995
a gauche and nearly
lethal environment.

711
00:34:19,995 --> 00:34:21,974
As these examples demonstrate

712
00:34:21,974 --> 00:34:23,550
the hypocritical epigenetically,

713
00:34:23,550 --> 00:34:25,110
psychology is characterized by

714
00:34:25,110 --> 00:34:27,270
conscious moral inconsistencies,

715
00:34:27,270 --> 00:34:30,285
evidence in dress,
dialogue, and action.

716
00:34:30,285 --> 00:34:32,220
Such contradictions are
presented as sources

717
00:34:32,220 --> 00:34:34,140
of amusement in
movies like Mash.

718
00:34:34,140 --> 00:34:35,970
As sources of tragedy
in films like

719
00:34:35,970 --> 00:34:38,220
White Oleander and
in sources of both.

720
00:34:38,220 --> 00:34:41,145
It films like a play in
the fields of the Lord.

721
00:34:41,145 --> 00:34:44,535
This is going to take us
to a second typology.

722
00:34:44,535 --> 00:34:47,220
This is the most
disturbing a lot,

723
00:34:47,220 --> 00:34:51,720
the Psychotic
Evangelical [LAUGHTER].

724
00:34:51,720 --> 00:34:55,515
Now this particular
type of plan,

725
00:34:55,515 --> 00:34:57,240
intense religious devotion of

726
00:34:57,240 --> 00:35:00,780
extreme physical or
emotional violence.

727
00:35:00,780 --> 00:35:02,400
We're going to take a look here

728
00:35:02,400 --> 00:35:05,460
at the first movie from 1976.

729
00:35:05,460 --> 00:35:08,070
This was the first scary
movie that I ever saw.

730
00:35:08,070 --> 00:35:11,140
A little black and
white television.

731
00:35:11,420 --> 00:35:15,780
It's Brian De Palma's,
masterpiece his take on

732
00:35:15,780 --> 00:35:17,535
Stephen King's
very popular novel

733
00:35:17,535 --> 00:35:19,140
of the day and that is Carrie.

734
00:35:19,140 --> 00:35:22,800
So many of us are familiar
with Carrie's story here.

735
00:35:22,800 --> 00:35:25,860
She's a high school
senior who possesses

736
00:35:25,860 --> 00:35:27,120
a terrifying combination of

737
00:35:27,120 --> 00:35:29,520
low self-esteem and
telekinetic powers.

738
00:35:29,520 --> 00:35:37,335
[LAUGHTER] Carrie's
life is miserable.

739
00:35:37,335 --> 00:35:40,050
It is largely due to
the cruel rejections

740
00:35:40,050 --> 00:35:42,210
that she receives in high
school from her classmates,

741
00:35:42,210 --> 00:35:45,660
as well as her
domineering physically,

742
00:35:45,660 --> 00:35:49,275
abusive and viable
mother played,

743
00:35:49,275 --> 00:35:52,020
so memorably by Piper Laurie

744
00:35:52,020 --> 00:35:53,760
in the role of Margaret White.

745
00:35:53,760 --> 00:35:55,500
So at home, Margaret preaches

746
00:35:55,500 --> 00:35:57,060
that sex was apparently evil she

747
00:35:57,060 --> 00:35:59,430
basically abused her daughter
as the embodiment of

748
00:35:59,430 --> 00:36:02,655
all filth and shame.

749
00:36:02,655 --> 00:36:04,425
This is the exposition,

750
00:36:04,425 --> 00:36:06,810
the very first scene where
we're introduced to her,

751
00:36:06,810 --> 00:36:09,540
so it's very suggestive in terms

752
00:36:09,540 --> 00:36:13,560
of the dress and the dialogue.

753
00:36:13,560 --> 00:36:14,670
This is the scene between Piper

754
00:36:14,670 --> 00:36:18,180
Laurie and Priscilla Pointer.

755
00:36:18,180 --> 00:36:22,030
It's provided on this film here.

756
00:36:27,680 --> 00:36:31,960
Were you in Chicago
two years ago?

757
00:36:33,260 --> 00:36:35,250
Chicago?

758
00:36:35,250 --> 00:36:37,980
Yes, Bill. Chicago.

759
00:36:37,980 --> 00:36:40,710
You knew that, didn't you?
I told you that didn't I?

760
00:36:40,710 --> 00:36:43,570
No, you didn't, I found out

761
00:36:46,340 --> 00:36:48,285
Mrs. White.

762
00:36:48,285 --> 00:36:49,935
How have you been Mrs. Snell?

763
00:36:49,935 --> 00:36:50,850
Fine.

764
00:36:50,850 --> 00:36:52,200
And the doctor?

765
00:36:52,200 --> 00:36:53,550
Fine.

766
00:36:53,550 --> 00:36:55,080
And your daughter?

767
00:36:55,080 --> 00:36:58,000
Sue is fine.

768
00:36:58,310 --> 00:37:00,870
Won't you come in Mrs. White?

769
00:37:00,870 --> 00:37:02,950
How kind of you.

770
00:37:07,040 --> 00:37:10,170
I think Carrie is in
some of Sue's classes.

771
00:37:10,170 --> 00:37:10,830
Yes.

772
00:37:10,830 --> 00:37:13,080
Well, perhaps sometimes
she might like to visit.

773
00:37:13,080 --> 00:37:16,380
I'm here on the Lord's
work and Mrs. Snell

774
00:37:16,380 --> 00:37:18,180
spreading the gospel of

775
00:37:18,180 --> 00:37:20,895
God's salvation through
Christ's blood.

776
00:37:20,895 --> 00:37:22,125
Yes of course.

777
00:37:22,125 --> 00:37:23,460
I have something here.

778
00:37:23,460 --> 00:37:25,920
I know is going to interest
the doctor and you.

779
00:37:25,920 --> 00:37:27,900
The teenager's path to

780
00:37:27,900 --> 00:37:30,495
salvation through
the cross of Jesus.

781
00:37:30,495 --> 00:37:32,910
I don't think Sue would be
very interested in that.

782
00:37:32,910 --> 00:37:34,800
Oh, the children are
wandering through

783
00:37:34,800 --> 00:37:37,290
the willingness of sin
these days, Mrs. Snell.

784
00:37:37,290 --> 00:37:39,450
My Sue is a good girl.

785
00:37:39,450 --> 00:37:41,700
These are godless
times Mrs. Snell.

786
00:37:41,700 --> 00:37:42,960
I'll drink to that.

787
00:37:42,960 --> 00:37:46,755
[LAUGHTER] I'll read this.

788
00:37:46,755 --> 00:37:50,710
Excuse me. Please sit
down, Mrs. White.

789
00:37:51,500 --> 00:37:55,950
Hello, Betty, can
I call you back.

790
00:37:55,950 --> 00:37:57,480
Margaret White is here.

791
00:37:57,480 --> 00:38:02,190
[BACKGROUND] White.

792
00:38:02,190 --> 00:38:04,080
Just let me get rid of
her and I will call

793
00:38:04,080 --> 00:38:08,130
you right back. [BACKGROUND]

794
00:38:08,130 --> 00:38:12,870
I have something here.

795
00:38:12,870 --> 00:38:15,390
Mrs. Snell, that I think
you might profit from.

796
00:38:15,390 --> 00:38:17,445
Mrs. White.

797
00:38:17,445 --> 00:38:24,480
I'd like to contribute $10.

798
00:38:24,480 --> 00:38:25,900
I see.

799
00:38:40,430 --> 00:38:44,410
I pray you find Jesus.

800
00:38:50,240 --> 00:38:53,310
I love the scene when
she raises her hand

801
00:38:53,310 --> 00:38:54,420
to testify you're not quite

802
00:38:54,420 --> 00:38:55,470
sure if she's going to slap her.

803
00:38:55,470 --> 00:38:58,050
[LAUGHTER].

804
00:38:58,050 --> 00:39:00,780
This is just a
flawless performance.

805
00:39:00,780 --> 00:39:03,210
Carrie eventually
challenges her mother.

806
00:39:03,210 --> 00:39:05,190
My mother had Piper
Laurie paper dolls

807
00:39:05,190 --> 00:39:13,725
[LAUGHTER] her
beautiful red hair.

808
00:39:13,725 --> 00:39:15,975
She's a beautiful woman
in middle age as well

809
00:39:15,975 --> 00:39:19,780
and my mother had Piper
Laurie paper dolls.

810
00:39:19,850 --> 00:39:22,890
Carrie eventually
challenges her mother,

811
00:39:22,890 --> 00:39:24,540
and she sneaks out of
the house to go to

812
00:39:24,540 --> 00:39:28,380
the school prom and the
results are deadly.

813
00:39:28,380 --> 00:39:31,080
When some of her
coffee classmates

814
00:39:31,080 --> 00:39:34,065
arranged for her to be
named the prom queen,

815
00:39:34,065 --> 00:39:35,940
they also arranged for
a bag of pig's blood to

816
00:39:35,940 --> 00:39:37,860
be placed above her in

817
00:39:37,860 --> 00:39:39,345
a critical moment they

818
00:39:39,345 --> 00:39:42,945
snap that when the blood
falls on her and of course,

819
00:39:42,945 --> 00:39:45,390
she can't control her rage.

820
00:39:45,390 --> 00:39:47,190
Her wrath falls on
the righteous and the

821
00:39:47,190 --> 00:39:49,170
unrighteous in this
particular film,

822
00:39:49,170 --> 00:39:53,800
and the whole school goes
down basically [LAUGHTER] and

823
00:39:53,900 --> 00:39:56,850
Carrie then returns home
into the arms of her mother

824
00:39:56,850 --> 00:39:58,830
who accepts her and

825
00:39:58,830 --> 00:40:00,690
holds her and they recite
the Lord's Prayer together,

826
00:40:00,690 --> 00:40:03,765
but as they do that her
mother stabs her in the back.

827
00:40:03,765 --> 00:40:06,705
Then she crucifies her mother in

828
00:40:06,705 --> 00:40:09,885
the kitchen with flying knives.

829
00:40:09,885 --> 00:40:11,250
Carrie just has to
look at things to

830
00:40:11,250 --> 00:40:14,115
get things in action and

831
00:40:14,115 --> 00:40:16,410
she kills her in much like

832
00:40:16,410 --> 00:40:17,640
all the different
crucifixes that

833
00:40:17,640 --> 00:40:20,010
decorate their
very macabre home.

834
00:40:20,010 --> 00:40:21,450
So in this case,

835
00:40:21,450 --> 00:40:25,770
Margaret White is the psychotic
evangelical type and it

836
00:40:25,770 --> 00:40:28,050
associates and links
Christianity with a host of

837
00:40:28,050 --> 00:40:30,735
pathologists including
intensity of physical beauty,

838
00:40:30,735 --> 00:40:32,700
and sexual desires,
self-delusion,

839
00:40:32,700 --> 00:40:35,235
and violent religious extremism.

840
00:40:35,235 --> 00:40:36,690
From the very
beginning, Margaret and

841
00:40:36,690 --> 00:40:38,415
Carrie's social isolation are

842
00:40:38,415 --> 00:40:40,350
linked to Margaret's
evangelicalism.

843
00:40:40,350 --> 00:40:41,640
You feel that, you
feel the weight of

844
00:40:41,640 --> 00:40:43,350
her rejection in a
scene like this.

845
00:40:43,350 --> 00:40:44,460
I love this too because of the

846
00:40:44,460 --> 00:40:45,600
contrast between the women.

847
00:40:45,600 --> 00:40:47,970
One wearing almost like
a black cape and with

848
00:40:47,970 --> 00:40:50,610
her little black leather bag
with a black Bible in it.

849
00:40:50,610 --> 00:40:52,080
The other, a comfortable

850
00:40:52,080 --> 00:40:54,390
middle-class mother
drinking a cocktail and

851
00:40:54,390 --> 00:40:56,190
watching the soap opera and

852
00:40:56,190 --> 00:40:59,475
the contrast in their
lives at that point.

853
00:40:59,475 --> 00:41:03,810
The category was
deservedly nominated for

854
00:41:03,810 --> 00:41:08,535
an Oscar for her role as
the most terrifying mother.

855
00:41:08,535 --> 00:41:12,700
Now Ken Russell,

856
00:41:12,700 --> 00:41:16,820
one of Great Britain's
most flamboyant directors.

857
00:41:16,820 --> 00:41:20,730
Directed Kathleen Turner and

858
00:41:20,730 --> 00:41:26,805
Anthony Perkins in Crimes
of Passion in 1984.

859
00:41:26,805 --> 00:41:29,160
Before I say that though,
I just want to say

860
00:41:29,160 --> 00:41:30,870
one more thing about Piper
Laurie's performance.

861
00:41:30,870 --> 00:41:32,610
Polly Kale described
the performance,

862
00:41:32,610 --> 00:41:36,180
as a right woman possessing
a deep pipe organ voice,

863
00:41:36,180 --> 00:41:38,430
similar to the missionary's
dialogue and play,

864
00:41:38,430 --> 00:41:40,815
Margaret's otherworldly
formal Christian language

865
00:41:40,815 --> 00:41:42,990
suggests psychology
that exists outside of

866
00:41:42,990 --> 00:41:44,250
the normal social interaction

867
00:41:44,250 --> 00:41:46,440
and receiver struggling
to relate to.

868
00:41:46,440 --> 00:41:50,325
That says, now we're
at Crimes of Passion.

869
00:41:50,325 --> 00:41:52,215
We've been going for a bit,

870
00:41:52,215 --> 00:41:54,510
I just want us to
pause for a moment.

871
00:41:54,510 --> 00:42:03,690
Kathleen Turner,
appreciations [LAUGHTER].

872
00:42:03,690 --> 00:42:06,160
Let's go back to 1984.

873
00:42:06,530 --> 00:42:09,630
I loved Kathleen Turner she

874
00:42:09,630 --> 00:42:12,900
is the last great movie
star, left in town.

875
00:42:12,900 --> 00:42:14,880
One of the most exciting reasons

876
00:42:14,880 --> 00:42:16,140
for me to go to the movies,

877
00:42:16,140 --> 00:42:18,480
growing up was to see actresses
like Kathleen Turner,

878
00:42:18,480 --> 00:42:22,710
William Hurts, Spencer Tracy
was Michael Douglas they

879
00:42:22,710 --> 00:42:26,970
were the most popular romantic
duo of 1980s, Glen Close.

880
00:42:26,970 --> 00:42:29,445
All of these are actors
that got me to the movies.

881
00:42:29,445 --> 00:42:31,710
In the 1980s, it was a
really exciting time for

882
00:42:31,710 --> 00:42:34,245
actors in American movies.

883
00:42:34,245 --> 00:42:36,660
Kathleen Turner
basically was an actress

884
00:42:36,660 --> 00:42:39,540
who took the convention
of the femme fatale.

885
00:42:39,540 --> 00:42:41,370
She basically did with

886
00:42:41,370 --> 00:42:43,900
this convention what
Brian De Palma,

887
00:42:44,060 --> 00:42:46,500
in movies like Carrie did for

888
00:42:46,500 --> 00:42:49,590
the genre of the suspense
thriller and that is,

889
00:42:49,590 --> 00:42:52,215
she took a convention and
drew on the tradition,

890
00:42:52,215 --> 00:42:57,030
which was the very sultry and
mysterious great actresses

891
00:42:57,030 --> 00:42:58,260
from an earlier era like

892
00:42:58,260 --> 00:43:01,965
Barbara Stanwyck or
Lauren Bacall and yet

893
00:43:01,965 --> 00:43:08,970
she took that type and she
re-imagined it and reactivated

894
00:43:08,970 --> 00:43:10,365
in ways that were holding modern

895
00:43:10,365 --> 00:43:11,490
and very creative and actually

896
00:43:11,490 --> 00:43:16,320
commented in critical ways
on the genre of the film.

897
00:43:16,320 --> 00:43:18,990
That's exactly what Brian
De Palma has been for

898
00:43:18,990 --> 00:43:23,110
decades at creatively
with suspense thrillers.

899
00:43:23,480 --> 00:43:26,040
She's just a very
important actress.

900
00:43:26,040 --> 00:43:27,390
Now, when I was a little boy,

901
00:43:27,390 --> 00:43:29,130
she was on Donahue.

902
00:43:29,130 --> 00:43:31,380
And this is a big deal to be on

903
00:43:31,380 --> 00:43:33,390
Donahue for a whole hour
talking about the arc of

904
00:43:33,390 --> 00:43:35,160
your career and
she was deemed by

905
00:43:35,160 --> 00:43:39,135
People Magazine to be the most
wanted woman in Hollywood.

906
00:43:39,135 --> 00:43:41,790
She was talking
about her movies,

907
00:43:41,790 --> 00:43:43,140
most of which I'd seen

908
00:43:43,140 --> 00:43:47,220
and this fella raised his
hand and asked her questions.

909
00:43:47,220 --> 00:43:48,360
Did you really do Crimes of

910
00:43:48,360 --> 00:43:49,800
Passion? It's just outlandish.

911
00:43:49,800 --> 00:43:51,150
She said it was like it was

912
00:43:51,150 --> 00:43:52,290
a different brand and he said it

913
00:43:52,290 --> 00:43:53,910
was you and Tony Perkins.

914
00:43:53,910 --> 00:43:55,860
He said, why did
you make this movie

915
00:43:55,860 --> 00:43:57,390
I couldn't wrap my
head around it?

916
00:43:57,390 --> 00:43:59,160
She said that's enough.

917
00:43:59,160 --> 00:44:02,265
She said I made Crimes
of Passion because

918
00:44:02,265 --> 00:44:04,815
that gave me the chance
to work with Ken Russell,

919
00:44:04,815 --> 00:44:06,375
she said I played a prostitute,

920
00:44:06,375 --> 00:44:07,635
the role involved nudity,

921
00:44:07,635 --> 00:44:09,075
it was very challenging for me.

922
00:44:09,075 --> 00:44:10,740
She said, I think it's
my most important role,

923
00:44:10,740 --> 00:44:11,820
my best acting on film

924
00:44:11,820 --> 00:44:13,110
but it's also the
worst movie that I

925
00:44:13,110 --> 00:44:16,580
ever did. So what's
a girl to do?

926
00:44:16,580 --> 00:44:19,000
She said I took the
role because it gave me

927
00:44:19,000 --> 00:44:20,670
chance to act my
rump off and she

928
00:44:20,670 --> 00:44:26,860
slapped her bum just like that.

929
00:44:26,860 --> 00:44:27,310
[LAUGHTER] I remembered that.

930
00:44:27,310 --> 00:44:29,110
[LAUGHTER] But I hadn't
heard of this though.

931
00:44:29,110 --> 00:44:31,360
It didn't play South of
Chicago in Illinois.

932
00:44:31,360 --> 00:44:33,160
This wasn't very
well, but I wrote

933
00:44:33,160 --> 00:44:38,230
them a poem. And I
waited- L [LAUGHTER].

934
00:44:38,230 --> 00:44:40,340
Come on I'm videoing this stuff.

935
00:44:40,470 --> 00:44:48,040
Basically, she had me
at Natives [LAUGHTER].

936
00:44:48,040 --> 00:44:50,470
But I couldn't just go
out and rent it because

937
00:44:50,470 --> 00:44:53,170
there's appearances to maintain.

938
00:44:53,170 --> 00:44:55,980
[LAUGHTER] I struggled with

939
00:44:55,980 --> 00:44:58,360
this and whenever I
struggled spiritually,

940
00:44:58,360 --> 00:44:59,425
I would go to Linda Dillow.

941
00:44:59,425 --> 00:45:00,580
Linda Dillow was
a dear friend of

942
00:45:00,580 --> 00:45:02,275
mine who I grew up with.

943
00:45:02,275 --> 00:45:03,640
I grew up in the
United Baptist Church.

944
00:45:03,640 --> 00:45:04,450
I could see movies.

945
00:45:04,450 --> 00:45:05,260
Linda Dillow grew up in

946
00:45:05,260 --> 00:45:07,855
a very strict
Nazerene congregation

947
00:45:07,855 --> 00:45:09,445
in our little community
in Southern Illinois.

948
00:45:09,445 --> 00:45:10,645
She couldn't see any films.

949
00:45:10,645 --> 00:45:12,460
She couldn't even
see a televised film

950
00:45:12,460 --> 00:45:14,605
that had been edited
for a television.

951
00:45:14,605 --> 00:45:16,240
Yet, we were very close friends,

952
00:45:16,240 --> 00:45:18,460
I think because we were both

953
00:45:18,460 --> 00:45:21,055
very religious ourselves
in different ways.

954
00:45:21,055 --> 00:45:22,690
I would go to her.
Our relationship

955
00:45:22,690 --> 00:45:24,670
is like priest and supplicant.

956
00:45:24,670 --> 00:45:26,980
For me to have a
spiritual struggle

957
00:45:26,980 --> 00:45:28,090
simply would be to

958
00:45:28,090 --> 00:45:30,010
badger her until she
said, "Just do it."

959
00:45:30,010 --> 00:45:38,155
[LAUGHTER] I said,

960
00:45:38,155 --> 00:45:41,380
"I know it's going
to be rough stuff."

961
00:45:41,380 --> 00:45:42,970
She said, "Well,
why is it rated R?"

962
00:45:42,970 --> 00:45:45,910
I had a little clip that I
had gotten from the magazine.

963
00:45:45,910 --> 00:45:48,340
I said, well, sexual
situations, terrible language,

964
00:45:48,340 --> 00:45:52,810
extreme blasphemy,
graphic nudity,

965
00:45:52,810 --> 00:45:54,655
a whole nine yards.

966
00:45:54,655 --> 00:45:58,270
I said, "So that's rough,"
and she said, "Yeah",

967
00:45:58,270 --> 00:46:02,905
she said, "but I
do like this one."

968
00:46:02,905 --> 00:46:05,080
You like that and you'll

969
00:46:05,080 --> 00:46:06,730
probably watch that and

970
00:46:06,730 --> 00:46:08,155
you'll think about what
the directors doing,

971
00:46:08,155 --> 00:46:09,850
and you just see
so much anyways.

972
00:46:09,850 --> 00:46:12,190
But I don't think that this
could really do much damage.

973
00:46:12,190 --> 00:46:15,670
[LAUGHTER] Now,

974
00:46:15,670 --> 00:46:18,160
Linda felt that I was going
to hell on a good day.

975
00:46:18,160 --> 00:46:21,610
[LAUGHTER] She gave
me the thumbs up.

976
00:46:21,610 --> 00:46:22,930
I had to wait till my parents

977
00:46:22,930 --> 00:46:24,070
took a weekend trip
to Saint Louis.

978
00:46:24,070 --> 00:46:29,000
[LAUGHTER] My brother
was in college.

979
00:46:29,940 --> 00:46:34,585
I walked at least
a mile to Crover.

980
00:46:34,585 --> 00:46:36,700
The deal was to go
to grocery stores

981
00:46:36,700 --> 00:46:39,145
in the town that I grew up in.

982
00:46:39,145 --> 00:46:42,470
I crossed a five-lane highway,

983
00:46:42,570 --> 00:46:44,740
like Eddie Murphy in Bowfinger.

984
00:46:44,740 --> 00:46:50,995
[LAUGHTER] I did and I
put down my two dollars.

985
00:46:50,995 --> 00:46:53,890
I was very hot and sweaty,

986
00:46:53,890 --> 00:46:55,690
and I got that movie.

987
00:46:55,690 --> 00:46:58,585
I took it back home,
we watched it.

988
00:46:58,585 --> 00:47:01,090
I rewound it and I took it

989
00:47:01,090 --> 00:47:02,140
right back because I had to

990
00:47:02,140 --> 00:47:03,370
get that thing out
of the house fast.

991
00:47:03,370 --> 00:47:08,410
[LAUGHTER] I understood that

992
00:47:08,410 --> 00:47:09,910
weekend why Pauline Kael named

993
00:47:09,910 --> 00:47:12,310
the first anthology
of film criticism,

994
00:47:12,310 --> 00:47:14,800
I Lost it at the Movies,

995
00:47:14,800 --> 00:47:18,460
because something was
lost there [LAUGHTER]

996
00:47:18,460 --> 00:47:22,810
and I'll let you think of it.

997
00:47:22,810 --> 00:47:24,220
[LAUGHTER] Basically, this is

998
00:47:24,220 --> 00:47:26,110
a movie where Kathleen
Turner plays prostitute.

999
00:47:26,110 --> 00:47:28,300
But the thing to

1000
00:47:28,300 --> 00:47:30,280
keep in mind here is
not to focus on her as

1001
00:47:30,280 --> 00:47:32,440
as sort of this energy for [NOISE]
before but rather the character of

1002
00:47:32,440 --> 00:47:34,135
Anthony Perkins because he

1003
00:47:34,135 --> 00:47:36,055
plays the Revered Peter Shayne

1004
00:47:36,055 --> 00:47:39,460
and he is a very mentally
disturbed street priest

1005
00:47:39,460 --> 00:47:42,415
who is obsessed with her and

1006
00:47:42,415 --> 00:47:50,920
fantasizes of being her
friend but also killing her.

1007
00:47:50,920 --> 00:47:52,240
[LAUGHTER] This is
the exposition.

1008
00:47:52,240 --> 00:47:53,650
Again we will first introduce

1009
00:47:53,650 --> 00:47:55,630
her character through an evening

1010
00:47:55,630 --> 00:47:57,925
as it turns and
Reverend Peter Shayne

1011
00:47:57,925 --> 00:47:59,665
as he's preaching out the truth.

1012
00:47:59,665 --> 00:48:01,240
This is Crimes of Passion and

1013
00:48:01,240 --> 00:48:02,860
God bless David for giving us

1014
00:48:02,860 --> 00:48:04,420
five minutes 42 seconds that I

1015
00:48:04,420 --> 00:48:06,040
can show of this
movie to you all.

1016
00:48:06,040 --> 00:48:10,750
[LAUGHTER]

1017
00:48:10,750 --> 00:48:21,050
[MUSIC] Forgive me
Lord. That was not

1018
00:48:24,990 --> 00:48:27,580
me. [MUSIC] You child,

1019
00:48:27,580 --> 00:48:29,650
victim of the night, I am

1020
00:48:29,650 --> 00:48:30,790
the Reverend Peter Shayne and I

1021
00:48:30,790 --> 00:48:32,230
know the pain that cripples you.

1022
00:48:32,230 --> 00:48:33,970
I've been sent by
the Lord to save

1023
00:48:33,970 --> 00:48:36,670
you and to rid the
earth of that plague.

1024
00:48:36,670 --> 00:48:38,470
I am his holy messenger.

1025
00:48:38,470 --> 00:48:45,640
[MUSIC] Do you
recognize me child?

1026
00:48:45,640 --> 00:48:50,660
Sorry. I never forget a face.

1027
00:48:51,660 --> 00:48:53,410
Before we leave here,

1028
00:48:53,410 --> 00:48:57,290
two important facts that
I want to mention here.

1029
00:48:57,290 --> 00:48:58,510
Kathleen Turner, 1984

1030
00:48:58,510 --> 00:48:59,785
was a good year for
Kathleen Turner.

1031
00:48:59,785 --> 00:49:01,480
She was in this movie
and she was also in

1032
00:49:01,480 --> 00:49:04,375
another movie that more people
saw, Romancing the Stone.

1033
00:49:04,375 --> 00:49:06,355
Just to let everybody know this,

1034
00:49:06,355 --> 00:49:10,225
Kathleen Turner received
more votes to be one of

1035
00:49:10,225 --> 00:49:12,910
the runners for the
Best Actress award at

1036
00:49:12,910 --> 00:49:13,990
the Academy Awards than any

1037
00:49:13,990 --> 00:49:15,460
other actress that was
nominated that year.

1038
00:49:15,460 --> 00:49:16,975
But she wasn't nominated

1039
00:49:16,975 --> 00:49:20,290
because you can't be
nominated for two films.

1040
00:49:20,290 --> 00:49:21,610
You have to be
nominated for one the

1041
00:49:21,610 --> 00:49:23,320
way The Oscars are run.

1042
00:49:23,320 --> 00:49:24,850
Half the group, which
really would have

1043
00:49:24,850 --> 00:49:26,260
just been critics but
people made history,

1044
00:49:26,260 --> 00:49:27,860
voted for this performance,

1045
00:49:27,860 --> 00:49:30,300
and the other half voted
for Romancing the Stone,

1046
00:49:30,300 --> 00:49:33,090
and neither half was
enough to break into

1047
00:49:33,090 --> 00:49:35,895
the other five nominees.

1048
00:49:35,895 --> 00:49:37,080
It's likely that she would have

1049
00:49:37,080 --> 00:49:38,310
won because all the other women,

1050
00:49:38,310 --> 00:49:41,220
like Farmer's Wife,
that particular.

1051
00:49:41,220 --> 00:49:46,260
[LAUGHTER] Two effects
came from this.

1052
00:49:46,260 --> 00:49:48,120
One, Kathleen Turner
was denied the Oscar

1053
00:49:48,120 --> 00:49:50,570
[NOISE] that she
richly deserved.

1054
00:49:50,570 --> 00:49:52,030
She did get LA Film Critics

1055
00:49:52,030 --> 00:49:53,470
[NOISE] Best Actress
that year for

1056
00:49:53,470 --> 00:49:56,560
both these movies, because
she was in for two.

1057
00:49:56,560 --> 00:49:58,480
She didn't win the Oscar,
that's one effect.

1058
00:49:58,480 --> 00:50:00,070
The other effect is that
we all opened spared

1059
00:50:00,070 --> 00:50:06,040
Sally Field's second
acceptance speech.

1060
00:50:06,040 --> 00:50:07,900
[LAUGHTER] Now it breaks my
heart that students primarily

1061
00:50:07,900 --> 00:50:09,760
know Kathleen Turner because of

1062
00:50:09,760 --> 00:50:14,635
her role as Chandler's
dad, on Friends.

1063
00:50:14,635 --> 00:50:17,620
That's a shame because it's
important you remember her.

1064
00:50:17,620 --> 00:50:19,420
She is the toast of Broadway,

1065
00:50:19,420 --> 00:50:22,240
but you'd need to live in
New York in order to take in

1066
00:50:22,240 --> 00:50:27,385
her first stage plays at
which she regularly appears.

1067
00:50:27,385 --> 00:50:32,590
About this film. A fashion
designer by day named Joanna.

1068
00:50:32,590 --> 00:50:36,550
A successful prostitute by
night named China Blue.

1069
00:50:36,550 --> 00:50:38,800
Her mutants are admired by
the reverend Peter Shayne,

1070
00:50:38,800 --> 00:50:44,260
a sex-obsessed street preacher
who follows her around.

1071
00:50:44,260 --> 00:50:47,290
Shayne is a formidable
antagonist.

1072
00:50:47,290 --> 00:50:48,640
He sweats, he puts

1073
00:50:48,640 --> 00:50:50,485
the Bible over steel,
he blasphemies.

1074
00:50:50,485 --> 00:50:52,600
Whereas Margaret White represses

1075
00:50:52,600 --> 00:50:54,670
her daughter Carrie's
and her own sexuality.

1076
00:50:54,670 --> 00:50:56,830
Shayne is more conflicted in
his need to repress and he

1077
00:50:56,830 --> 00:50:59,980
destroys forces of temptation
that he cannot resist.

1078
00:50:59,980 --> 00:51:02,230
Margaret White
channels her sexuality

1079
00:51:02,230 --> 00:51:05,050
into religious fervor, he
can't separate the two.

1080
00:51:05,050 --> 00:51:07,720
The motif that running
throughout his characterization,

1081
00:51:07,720 --> 00:51:10,570
this will be his blending of
the sacred and the profane.

1082
00:51:10,570 --> 00:51:12,730
His cross include a Bible,

1083
00:51:12,730 --> 00:51:14,980
a folding poke-let and
metallic crown of thorns in

1084
00:51:14,980 --> 00:51:16,240
a little black bag
that was filled

1085
00:51:16,240 --> 00:51:18,100
with very curious tools.

1086
00:51:18,100 --> 00:51:21,520
A biographer of Anthony
Perkins provides insight into

1087
00:51:21,520 --> 00:51:22,930
the evolution of his
character who was

1088
00:51:22,930 --> 00:51:25,450
originally conceived their
path as psychiatrists.

1089
00:51:25,450 --> 00:51:27,774
When he, Barry Sandler
the screenwriter,

1090
00:51:27,774 --> 00:51:29,080
met with Tony Perkins on

1091
00:51:29,080 --> 00:51:30,850
Seattle Thrive to
discuss the part.

1092
00:51:30,850 --> 00:51:32,530
The actor immediately suggested,

1093
00:51:32,530 --> 00:51:35,335
that they change him to a
preacher instead of a shrink,

1094
00:51:35,335 --> 00:51:38,260
to eliminate the hypocrisy
of the many then

1095
00:51:38,260 --> 00:51:40,660
popular televangelists
who were always

1096
00:51:40,660 --> 00:51:43,465
caught saying one thing
but doing another.

1097
00:51:43,465 --> 00:51:46,120
"Tony took out this huge
Bible and began coming

1098
00:51:46,120 --> 00:51:48,670
up with passages that Shayne
could use," Sandler recalls.

1099
00:51:48,670 --> 00:51:49,960
You couldn't get
much crazier than

1100
00:51:49,960 --> 00:51:52,225
this character, but Tony did.

1101
00:51:52,225 --> 00:51:55,120
Now as the plot function
Shayne's religiosity serves

1102
00:51:55,120 --> 00:51:57,670
as a parallelism to
Joanna's dual existence.

1103
00:51:57,670 --> 00:51:59,290
Just as Shayne's
religion is essentially

1104
00:51:59,290 --> 00:52:01,120
a rouse so too are the
countless roles that

1105
00:52:01,120 --> 00:52:05,440
Joanna enacts in her
evenings as China Blue.

1106
00:52:05,440 --> 00:52:07,120
One of their heated duets she

1107
00:52:07,120 --> 00:52:08,935
appears to speak for
the film explicitly,

1108
00:52:08,935 --> 00:52:10,180
when she screams, "I can play

1109
00:52:10,180 --> 00:52:11,515
your game as well as you can.

1110
00:52:11,515 --> 00:52:13,975
I don't need religion
to pump myself up."

1111
00:52:13,975 --> 00:52:16,210
Shayne's delivered
religious performance

1112
00:52:16,210 --> 00:52:18,520
amplifies the movie's
assertions truly for

1113
00:52:18,520 --> 00:52:20,350
ourselves but the
script development

1114
00:52:20,350 --> 00:52:21,580
betrays a helpless skelter

1115
00:52:21,580 --> 00:52:23,155
approach to characterization.

1116
00:52:23,155 --> 00:52:25,270
Critics in the popular
press generally siding

1117
00:52:25,270 --> 00:52:27,370
with Roderick Ebert's
assessment that Anthony Perkins

1118
00:52:27,370 --> 00:52:30,010
distorts most of the
seasons with overacting

1119
00:52:30,010 --> 00:52:31,600
so claim that the possibility

1120
00:52:31,600 --> 00:52:33,730
of the whole movie
is undermined.

1121
00:52:33,730 --> 00:52:35,785
This is another irony

1122
00:52:35,785 --> 00:52:37,240
which I'll just
mention here is that,

1123
00:52:37,240 --> 00:52:40,855
Anthony Perkins was of course
was a wonderful actor.

1124
00:52:40,855 --> 00:52:43,600
There's no greater
tragedy than being frozen

1125
00:52:43,600 --> 00:52:45,940
in the face of the character.

1126
00:52:45,940 --> 00:52:47,485
Of course, the public
wanted him to be

1127
00:52:47,485 --> 00:52:49,420
Norman Bates for the
rest of his life.

1128
00:52:49,420 --> 00:52:50,740
The great irony of this

1129
00:52:50,740 --> 00:52:52,150
performance in Pyscho
because he was

1130
00:52:52,150 --> 00:52:55,300
an actor who was capable of
such subtlety and such range,

1131
00:52:55,300 --> 00:52:56,680
is that a power of

1132
00:52:56,680 --> 00:52:58,510
Norman Bates is that
he's very vulnerable.

1133
00:52:58,510 --> 00:52:59,820
Not that he's a wild man

1134
00:52:59,820 --> 00:53:01,905
screaming all the time
and taking drugs like

1135
00:53:01,905 --> 00:53:04,350
the dealings that
Anthony Perkins would be

1136
00:53:04,350 --> 00:53:07,335
typecast in for the last
roughly 15 years of his career.

1137
00:53:07,335 --> 00:53:09,345
It's just a shame that
this is how it ends.

1138
00:53:09,345 --> 00:53:12,040
Because he was a much
better actor than

1139
00:53:12,040 --> 00:53:15,670
his final roles would give
him a chance to display.

1140
00:53:15,670 --> 00:53:20,125
Now, we can move another
distinguished director,

1141
00:53:20,125 --> 00:53:22,300
American director
Martin Scorsese.

1142
00:53:22,300 --> 00:53:25,990
his remake of Cape Fear in 1991.

1143
00:53:25,990 --> 00:53:30,085
Also portrayed as
Psychotic Evangelical.

1144
00:53:30,085 --> 00:53:32,610
In this particular scene,

1145
00:53:32,610 --> 00:53:36,610
the exposition, the very
opening of this particular.

1146
00:53:38,600 --> 00:53:40,950
I'll just pause here
and I'll show you this

1147
00:53:40,950 --> 00:53:42,675
because there is a
nice close-up here.

1148
00:53:42,675 --> 00:53:44,510
His whole body is tattooed.

1149
00:53:44,510 --> 00:53:47,180
It's that truth and justice,

1150
00:53:47,180 --> 00:53:49,570
the balance as we go through

1151
00:53:49,570 --> 00:53:51,310
the cross at the back
and there's lots of

1152
00:53:51,310 --> 00:53:54,610
other Bible verses
all around them

1153
00:53:54,610 --> 00:53:59,665
dealing with justice and wrath.

1154
00:53:59,665 --> 00:54:02,800
Basically, this is the
introduction to the character.

1155
00:54:02,800 --> 00:54:05,080
He's working out.

1156
00:54:05,080 --> 00:54:07,030
He's working his triceps in

1157
00:54:07,030 --> 00:54:08,170
a prison cell waiting to be

1158
00:54:08,170 --> 00:54:10,270
released from a
14 year sentence.

1159
00:54:10,270 --> 00:54:13,375
Basically, Max Cady
played by Robert De Niro,

1160
00:54:13,375 --> 00:54:15,670
in this particular film was in

1161
00:54:15,670 --> 00:54:19,405
prison justly because
he did rape and murder.

1162
00:54:19,405 --> 00:54:22,815
But his defense attorney
didn't work very hard.

1163
00:54:22,815 --> 00:54:24,390
He botched the case
and he didn't care

1164
00:54:24,390 --> 00:54:26,325
because he knew guy was
guilty to begin with.

1165
00:54:26,325 --> 00:54:29,115
But what happens in this
opening and as we see

1166
00:54:29,115 --> 00:54:32,985
a nice little tracking shot
of his library in his prison.

1167
00:54:32,985 --> 00:54:35,960
He's really boned up on the law.

1168
00:54:35,960 --> 00:54:38,980
His books include nature,

1169
00:54:38,980 --> 00:54:41,290
the Bible, [NOISE]
lots of law books.

1170
00:54:41,290 --> 00:54:42,430
This is a psychopath that

1171
00:54:42,430 --> 00:54:43,750
only can His love can love.

1172
00:54:43,750 --> 00:54:48,611
[LAUGHTER]

1173
00:54:48,611 --> 00:54:50,920
His intense religiosity is

1174
00:54:50,920 --> 00:54:53,140
a foreground from the very
first moment that we see,

1175
00:54:53,140 --> 00:54:55,855
not even the space
for just his back.

1176
00:54:55,855 --> 00:54:58,210
This is a remake of
a classic thriller,

1177
00:54:58,210 --> 00:55:01,180
the 1962, the Jamie
Thomson directed.

1178
00:55:01,180 --> 00:55:02,530
It's basically the danger of

1179
00:55:02,530 --> 00:55:05,330
the Scorsese into
Europe collaboration.

1180
00:55:06,750 --> 00:55:08,800
Cady's psychotic. His

1181
00:55:08,800 --> 00:55:10,690
determination to exact
revenge and he's

1182
00:55:10,690 --> 00:55:13,300
evangelical in the
Christian underpinnings

1183
00:55:13,300 --> 00:55:15,085
that motivate his mission.

1184
00:55:15,085 --> 00:55:17,470
In particular, his fixation
with the Book of Job,

1185
00:55:17,470 --> 00:55:21,610
which he interprets in

1186
00:55:21,610 --> 00:55:24,355
a way that he fashions
himself as a deity,

1187
00:55:24,355 --> 00:55:26,740
who is now his goal is

1188
00:55:26,740 --> 00:55:30,280
to punish the Golden family

1189
00:55:30,280 --> 00:55:32,200
for the years that
he's lost in prison,

1190
00:55:32,200 --> 00:55:34,060
because of the father,

1191
00:55:34,060 --> 00:55:35,800
the lawyer played by
Nick Nolte because of

1192
00:55:35,800 --> 00:55:38,845
his shortcomings as an intern.

1193
00:55:38,845 --> 00:55:40,750
His religiosity, however,

1194
00:55:40,750 --> 00:55:43,435
is present in neither
the original film

1195
00:55:43,435 --> 00:55:45,160
that was released in

1196
00:55:45,160 --> 00:55:47,650
1962 with Gregory Peck
and Robert Mitchum,

1197
00:55:47,650 --> 00:55:49,735
as well as the novel that

1198
00:55:49,735 --> 00:55:52,030
both stories came from

1199
00:55:52,030 --> 00:55:54,010
John D. MacDonald's,
The Execution.

1200
00:55:54,010 --> 00:55:57,160
Screenwriter Wesley
Strick commented on

1201
00:55:57,160 --> 00:55:58,960
the development of
this character in

1202
00:55:58,960 --> 00:56:00,940
the remake He says,

1203
00:56:00,940 --> 00:56:02,320
"In my original script, Max was

1204
00:56:02,320 --> 00:56:03,925
raised in a primitive
religious sect."

1205
00:56:03,925 --> 00:56:06,805
He made a few direct
references to the Bible.

1206
00:56:06,805 --> 00:56:10,000
I think Bob saw that, as
a way into the character.

1207
00:56:10,000 --> 00:56:12,550
He was always looking for
more biblical quotes.

1208
00:56:12,550 --> 00:56:14,800
I was given a bible for
coordinates that became

1209
00:56:14,800 --> 00:56:17,395
my best friend during all the
rewrites with the script.

1210
00:56:17,395 --> 00:56:19,735
Every scene about, he
would call me and say,

1211
00:56:19,735 --> 00:56:21,250
"Can Max say something
else here about

1212
00:56:21,250 --> 00:56:23,470
vengeance, like from the Bible?"

1213
00:56:23,470 --> 00:56:25,570
I would do this
lingo and look up

1214
00:56:25,570 --> 00:56:27,010
vengeance and making
coordinates and go

1215
00:56:27,010 --> 00:56:28,450
through the 29 quotes about

1216
00:56:28,450 --> 00:56:30,520
vengeance and I
find the best one.

1217
00:56:30,520 --> 00:56:33,415
Merely descriptive in
the Crimes of Passion,

1218
00:56:33,415 --> 00:56:35,020
these dramatic
strategies developed

1219
00:56:35,020 --> 00:56:37,810
theologies around
decontextualized verses.

1220
00:56:37,810 --> 00:56:40,435
His comments also revealed
by the presentation.

1221
00:56:40,435 --> 00:56:42,520
He is religiously and is
often an odd which are

1222
00:56:42,520 --> 00:56:44,200
more naturalistic portrayal by

1223
00:56:44,200 --> 00:56:46,390
the actors of the Golden family.

1224
00:56:46,390 --> 00:56:48,955
As character actor being
argued in The New Yorker,

1225
00:56:48,955 --> 00:56:50,770
a Christian
mythological subjects

1226
00:56:50,770 --> 00:56:52,720
that Scorsese dredges
up and cleanses in

1227
00:56:52,720 --> 00:56:54,805
the foreground has the
effect of distancing

1228
00:56:54,805 --> 00:56:58,000
our emotional feelings
from the story.

1229
00:56:58,000 --> 00:56:59,290
It isn't true subject,

1230
00:56:59,290 --> 00:57:01,210
its stuff that's been
imposed on rather

1231
00:57:01,210 --> 00:57:03,730
than discovered in the material.

1232
00:57:03,730 --> 00:57:06,730
Such structural flaws in Cape
Fear as well as Crimes of

1233
00:57:06,730 --> 00:57:10,045
Passion are essentially
issues of content inside.

1234
00:57:10,045 --> 00:57:11,560
In terms of script development,

1235
00:57:11,560 --> 00:57:13,270
Margeret White's
further religiosity and

1236
00:57:13,270 --> 00:57:14,470
Carrie was essential for

1237
00:57:14,470 --> 00:57:20,000
the characterization in King's novel and
with the following fluid operatic direction.

1238
00:57:20,000 --> 00:57:21,630
The psychotic evangelicals in

1239
00:57:21,630 --> 00:57:23,550
Cape Fear and Crimes
of Passion however,

1240
00:57:23,550 --> 00:57:25,620
we're embroidered during
pre-production and

1241
00:57:25,620 --> 00:57:28,260
enforced the perception that wipes
religiosity intrinsic to the narrative

1242
00:57:28,260 --> 00:57:34,450
while Shane's and Cady's evangelicalism appears more
imposed on and decorative. I think it's also true.

1243
00:57:34,450 --> 00:57:36,325
Stephen King has talked a lot

1244
00:57:36,325 --> 00:57:37,930
throughout his
career about Carrie,

1245
00:57:37,930 --> 00:57:40,750
it's novel that put
him on the map.

1246
00:57:40,750 --> 00:57:44,290
He based the person at
Carrie who by on screen,

1247
00:57:44,290 --> 00:57:46,150
young teenagers that
he grew up with,

1248
00:57:46,150 --> 00:57:47,635
who were extremely isolated.

1249
00:57:47,635 --> 00:57:50,005
One young woman was isolated

1250
00:57:50,005 --> 00:57:51,910
because of the religious
fundamentalist

1251
00:57:51,910 --> 00:57:53,050
beliefs that her parents,

1252
00:57:53,050 --> 00:57:54,700
who sort of kept her
away from everyone,

1253
00:57:54,700 --> 00:57:56,350
and the other young
girl was isolated

1254
00:57:56,350 --> 00:57:58,045
because she was epileptic,

1255
00:57:58,045 --> 00:58:00,250
and rejected by kids
because of her health.

1256
00:58:00,250 --> 00:58:02,245
Both of these young girls

1257
00:58:02,245 --> 00:58:04,855
in their early 20s
would take their lives.

1258
00:58:04,855 --> 00:58:06,535
One would kill herself,

1259
00:58:06,535 --> 00:58:09,220
and the other one died
alone in an apartment from

1260
00:58:09,220 --> 00:58:12,115
an epileptic tic,

1261
00:58:12,115 --> 00:58:14,605
she wasn't able to
control herself.

1262
00:58:14,605 --> 00:58:16,000
Even though Carrie is the most

1263
00:58:16,000 --> 00:58:18,610
fantastic and sort of
spellbinding of these stories,

1264
00:58:18,610 --> 00:58:20,110
there is a core and
I think a truth to

1265
00:58:20,110 --> 00:58:21,700
it that resonates
emotionally with people

1266
00:58:21,700 --> 00:58:23,215
in a way that these other movies

1267
00:58:23,215 --> 00:58:25,420
just simply can't muster up.

1268
00:58:25,420 --> 00:58:27,520
No, I was happy when
Martin Scorsese

1269
00:58:27,520 --> 00:58:29,005
started collaborating

1270
00:58:29,005 --> 00:58:31,330
with Leonardo DiCaprio because

1271
00:58:31,330 --> 00:58:32,530
for the better part of a decade,

1272
00:58:32,530 --> 00:58:34,270
Cape Fear was Martin Scorsese's

1273
00:58:34,270 --> 00:58:35,980
most financial successful movie,

1274
00:58:35,980 --> 00:58:37,540
which is such a shame
because it just isn't

1275
00:58:37,540 --> 00:58:39,850
a very distinguished film and
it's best than forgotten.

1276
00:58:39,850 --> 00:58:42,130
Now, look at Leonardo DiCaprio,

1277
00:58:42,130 --> 00:58:43,510
their movies made
a lot more money

1278
00:58:43,510 --> 00:58:44,560
than better movies as well.

1279
00:58:44,560 --> 00:58:46,090
So now he doesn't have

1280
00:58:46,090 --> 00:58:48,715
this movie to say that at
least it turn to profit.

1281
00:58:48,715 --> 00:58:51,805
That said, these are some,

1282
00:58:51,805 --> 00:58:56,090
reflections on what we'll call
the psychotic evangelical.

1283
00:58:57,420 --> 00:58:59,815
The Naive Evangelical.

1284
00:58:59,815 --> 00:59:01,690
Whereas her faith and her sleep,

1285
00:59:01,690 --> 00:59:03,115
and it's chiefly
characterized by

1286
00:59:03,115 --> 00:59:05,035
innocence and preview it.

1287
00:59:05,035 --> 00:59:07,750
Now Ron Shelton,
relevant directors would

1288
00:59:07,750 --> 00:59:11,000
likely coupled or in exchange.

1289
00:59:11,000 --> 00:59:13,290
In this particular
movie, Crash Davis,

1290
00:59:13,290 --> 00:59:14,340
played by Kevin Costner,

1291
00:59:14,340 --> 00:59:16,500
is a seasoned catcher
in the minor,

1292
00:59:16,500 --> 00:59:19,230
who is reluctantly assigns
on with the Durham Bulls,

1293
00:59:19,230 --> 00:59:24,540
and agrees to a then upcoming pitcher am
up with the gifted but dim Nuke LaLoosh,

1294
00:59:24,540 --> 00:59:26,265
who's played by Tim Robbins.

1295
00:59:26,265 --> 00:59:29,040
Torn between them is Annie
Savoy, Susan Sarandon,

1296
00:59:29,040 --> 00:59:30,750
an English instructor
who lives for the game

1297
00:59:30,750 --> 00:59:33,180
belief and the only church
that truly consistent,

1298
00:59:33,180 --> 00:59:36,885
day in and day out
is the church.

1299
00:59:36,885 --> 00:59:39,270
Annie is devout that
she's not filming,

1300
00:59:39,270 --> 00:59:40,410
that their just
character in the movie.

1301
00:59:40,410 --> 00:59:42,030
Jimmy, played by William O'Lear,

1302
00:59:42,030 --> 00:59:45,125
is another teammate and he's
an Evangelical Christian,

1303
00:59:45,125 --> 00:59:47,400
who leads the bible study

1304
00:59:47,400 --> 00:59:50,650
at chapel before
their practices.

1305
00:59:50,650 --> 00:59:53,365
This is the very introduction
to this character,

1306
00:59:53,365 --> 01:00:01,390
a Ron Shelton's Bull Durham

1307
01:00:01,390 --> 01:00:05,830
Listen up. Guys. Can I have
your attention in a minute.

1308
01:00:05,830 --> 01:00:06,320
No.

1309
01:00:06,320 --> 01:00:07,930
I'll be leading a daily
chapel service in

1310
01:00:07,930 --> 01:00:09,940
our locker rooms at
3:00 in the afternoon.

1311
01:00:09,940 --> 01:00:11,200
Amen, brother. Amen.

1312
01:00:11,200 --> 01:00:12,340
Y'all invited to stop on buying

1313
01:00:12,340 --> 01:00:13,945
worship before batting practice.

1314
01:00:13,945 --> 01:00:15,370
Jimmy, goddammit.

1315
01:00:15,370 --> 01:00:17,660
Loosen up and get laid.

1316
01:00:18,150 --> 01:00:20,710
I know you all think
I'm pretty square,

1317
01:00:20,710 --> 01:00:24,010
but I believe what I believe.

1318
01:00:24,010 --> 01:00:28,090
[NOISE]

1319
01:00:28,090 --> 01:00:31,465
Jesus, Ebby, you look like
a cleft ran over you, man.

1320
01:00:31,465 --> 01:00:35,440
Nuke, only Nuke.

1321
01:00:35,440 --> 01:00:38,320
Annie says it's my nickname.

1322
01:00:38,320 --> 01:00:41,485
Okay, Nuke. Go get them, Nuke.

1323
01:00:41,485 --> 01:00:43,480
As a secondary character,

1324
01:00:43,480 --> 01:00:45,820
Jimmy's role is a small
one, but this line,

1325
01:00:45,820 --> 01:00:49,180
which inspires the title of
my talk is illuminating as it

1326
01:00:49,180 --> 01:00:52,870
references a set of complex
social relationships.

1327
01:00:52,870 --> 01:00:54,310
Jimmy is aware that there'd be

1328
01:00:54,310 --> 01:00:55,540
no place set him apart from

1329
01:00:55,540 --> 01:00:58,465
the others and causes them to
regard him as an outsider,

1330
01:00:58,465 --> 01:01:00,640
yet he affirms his
religious difference

1331
01:01:00,640 --> 01:01:02,589
in the face of their skepticism.

1332
01:01:02,589 --> 01:01:04,330
Over and above being squared,

1333
01:01:04,330 --> 01:01:06,070
Jimmy is also naive.

1334
01:01:06,070 --> 01:01:08,170
After spending five
hours with Millie,

1335
01:01:08,170 --> 01:01:10,480
a minor-league groupie,
he proposes marriage.

1336
01:01:10,480 --> 01:01:11,800
And it seems that
Jimmy is the only

1337
01:01:11,800 --> 01:01:13,330
one who's not figured
out that Millie has

1338
01:01:13,330 --> 01:01:16,630
been a girlfriend with all
the team mates on his team.

1339
01:01:16,630 --> 01:01:20,740
throughout previous seasons.
Bull Durham in it's sweet,

1340
01:01:20,740 --> 01:01:22,300
gentle way associates
evangelical

1341
01:01:22,300 --> 01:01:23,800
with extreme they entertain.

1342
01:01:23,800 --> 01:01:25,930
Using it as a comic front
grass to the earth and

1343
01:01:25,930 --> 01:01:29,904
sexuality and worldlier attitudes
of the lead characters.

1344
01:01:29,904 --> 01:01:34,090
Now another example that
I want to show you from

1345
01:01:34,090 --> 01:01:35,830
the 19th typology is from

1346
01:01:35,830 --> 01:01:38,470
Herbert Ross of 1989
called Steel Magnolias.

1347
01:01:38,470 --> 01:01:40,690
This is a very
popular movie based

1348
01:01:40,690 --> 01:01:43,090
on Robert Harling play
of the same name.

1349
01:01:43,090 --> 01:01:44,500
It is about enduring
friendships of

1350
01:01:44,500 --> 01:01:46,540
six different Louisiana women.

1351
01:01:46,540 --> 01:01:49,090
One of them is a character
played by Daryl Hannah,

1352
01:01:49,090 --> 01:01:52,285
who's often tapped for the
Naive Evangelical type.

1353
01:01:52,285 --> 01:01:54,430
And her character's
name, Annelle,

1354
01:01:54,430 --> 01:01:56,350
and she's an insecure
way to find a work at

1355
01:01:56,350 --> 01:01:58,840
the local beauty salon.

1356
01:01:58,840 --> 01:02:00,130
She begins to stay in church,

1357
01:02:00,130 --> 01:02:01,480
she becomes a
Christian and in terms

1358
01:02:01,480 --> 01:02:03,520
of psychological disposition,

1359
01:02:03,520 --> 01:02:05,860
Annelle's night and take in
the first third of the movie

1360
01:02:05,860 --> 01:02:08,380
sets the stage for
religious conversion.

1361
01:02:08,380 --> 01:02:09,730
Distinct from a lot of the other

1362
01:02:09,730 --> 01:02:11,860
religious images that
we talked about,

1363
01:02:11,860 --> 01:02:13,540
Steel Magnolias implies that

1364
01:02:13,540 --> 01:02:16,585
evangelic is an effect
rather than cost of

1365
01:02:16,585 --> 01:02:18,580
the character's
shortcomings since

1366
01:02:18,580 --> 01:02:20,020
Annelle's dividends
is established

1367
01:02:20,020 --> 01:02:21,745
very early on in the film.

1368
01:02:21,745 --> 01:02:25,270
This is a scene where she is
drawing distinctions between

1369
01:02:25,270 --> 01:02:30,700
her lifestyle and her
boyfriend in Steel Magnolias.

1370
01:02:30,700 --> 01:02:34,585
You're supposed to sort
the red beans overnight.

1371
01:02:34,585 --> 01:02:37,105
But we don't have overnight.

1372
01:02:37,105 --> 01:02:39,130
I want to take it
to them before they

1373
01:02:39,130 --> 01:02:40,780
leave for the hospital tomorrow.

1374
01:02:40,780 --> 01:02:42,610
Let's cook something else.

1375
01:02:42,610 --> 01:02:45,460
I already bought all the
stuff and it's in the freeze,

1376
01:02:45,460 --> 01:02:47,215
it's beautifully
section in my cookbook.

1377
01:02:47,215 --> 01:02:49,705
I don't want to take
something that freezes views.

1378
01:02:49,705 --> 01:02:52,970
Then we'll make red
beans and rice.

1379
01:02:55,740 --> 01:02:59,380
Sammy DeSoto, what is
this in my fridge today?

1380
01:02:59,380 --> 01:03:01,960
[MUSIC]

1381
01:03:01,960 --> 01:03:03,440
Beer.

1382
01:03:04,650 --> 01:03:07,600
I don't care what you do
in your refrigerator,

1383
01:03:07,600 --> 01:03:10,640
but you will not
keep litter in mine.

1384
01:03:11,880 --> 01:03:15,310
Oh, Annelle, for Christ's sake.

1385
01:03:15,310 --> 01:03:18,350
Who? [LAUGHTER]

1386
01:03:18,350 --> 01:03:21,395
Christ.

1387
01:03:21,395 --> 01:03:22,330
What did you say?

1388
01:03:22,330 --> 01:03:24,265
Christ, Christ, Christ.

1389
01:03:24,265 --> 01:03:26,695
Are you speaking of our Lord?

1390
01:03:26,695 --> 01:03:28,840
Is that whose name
you're taking in vain?

1391
01:03:28,840 --> 01:03:30,535
That's the one.

1392
01:03:30,535 --> 01:03:33,115
I am sorry, Sammy.

1393
01:03:33,115 --> 01:03:35,380
But I'm not about to spend
the next 50 years of

1394
01:03:35,380 --> 01:03:36,700
my life with someone who I'm not

1395
01:03:36,700 --> 01:03:38,289
going to run into
in the hereafter.

1396
01:03:38,289 --> 01:03:40,270
Oh, Annelle, goddammit.

1397
01:03:40,270 --> 01:03:41,860
I think we should pray.

1398
01:03:41,860 --> 01:03:43,540
[LAUGHTER]

1399
01:03:43,540 --> 01:03:44,920
Oh, I'd rather eat dirt.

1400
01:03:44,920 --> 01:03:55,360
[LAUGHTER]

1401
01:03:55,360 --> 01:03:57,040
As a supporting role
in an ensemble,

1402
01:03:57,040 --> 01:04:00,820
her newfound faith source and her familiar
platform shows as a source of comic relief

1403
01:04:00,820 --> 01:04:02,620
with growing intentions
about the luminous

1404
01:04:02,620 --> 01:04:08,785
and her regarding religious
devotion and excess here.

1405
01:04:08,785 --> 01:04:09,850
Now it's interesting
to note too,

1406
01:04:09,850 --> 01:04:11,680
Daryl Hannah plays the
naive Christian in

1407
01:04:11,680 --> 01:04:14,065
this film in another film
that I've already mentioned,

1408
01:04:14,065 --> 01:04:15,805
called Play in the
Fields of the Lord.

1409
01:04:15,805 --> 01:04:17,830
Whenever an actor who's

1410
01:04:17,830 --> 01:04:20,140
known for her physical
beauty plays it

1411
01:04:20,140 --> 01:04:21,820
into jungle off and
she'll lead is sort of

1412
01:04:21,820 --> 01:04:24,775
be roughed up a little bit.

1413
01:04:24,775 --> 01:04:27,490
In this particular case,
the kidney check glasses.

1414
01:04:27,490 --> 01:04:29,725
It's almost that you
can't be too attractive.

1415
01:04:29,725 --> 01:04:32,560
If you're going to
play an Evangelical.

1416
01:04:32,560 --> 01:04:34,690
Her attire is very

1417
01:04:34,690 --> 01:04:37,180
different than the
fashionable 80s attire,

1418
01:04:37,180 --> 01:04:38,650
and all the other
actresses that sort

1419
01:04:38,650 --> 01:04:41,065
of populates this movie.

1420
01:04:41,065 --> 01:04:44,170
In a bridged version of
the 19th typology is

1421
01:04:44,170 --> 01:04:46,930
founded Charles Shyer's
delightful comedy,

1422
01:04:46,930 --> 01:04:48,760
Baby Boom for 1987.

1423
01:04:48,760 --> 01:04:51,985
JC JC Wiatt, played
by Dianne Keaton,

1424
01:04:51,985 --> 01:04:54,205
one of our greatest comedians,

1425
01:04:54,205 --> 01:04:55,930
is a cutthroat business
women whose life

1426
01:04:55,930 --> 01:04:57,550
is turned upside down
literally whenever

1427
01:04:57,550 --> 01:05:01,675
she inherits a baby
from a distant cousin.

1428
01:05:01,675 --> 01:05:04,195
One of her tasks, as the
most reluctant mother,

1429
01:05:04,195 --> 01:05:06,280
is to find somebody to take

1430
01:05:06,280 --> 01:05:09,620
care of the baby
while she is at work.

1431
01:05:09,660 --> 01:05:12,070
This little inheritance sequence

1432
01:05:12,070 --> 01:05:13,000
is what we're going to see here.

1433
01:05:13,000 --> 01:05:14,770
It's basically a montage
of quick cuts and

1434
01:05:14,770 --> 01:05:18,960
graphic branches that shows
us the various applicants.

1435
01:05:18,960 --> 01:05:21,540
The Evangelical Christian
will not be difficult.

1436
01:05:21,540 --> 01:05:27,262
[LAUGHTER]

1437
01:05:27,262 --> 01:05:30,025
Hi, I'm here for the
nanny interview.

1438
01:05:30,025 --> 01:05:33,174
Why don't you tell me a
little bit about yourself?

1439
01:05:33,174 --> 01:05:36,010
I'm originally from
Wichita, Kansas.

1440
01:05:36,010 --> 01:05:38,530
Oh, and what brought
you to New York?

1441
01:05:38,530 --> 01:05:40,490
The Lord.

1442
01:05:40,620 --> 01:05:44,215
Well, [LAUGHTER] thank you
very much for coming by.

1443
01:05:44,215 --> 01:05:47,050
I've just graduated from
Johns Hopkins and I'm

1444
01:05:47,050 --> 01:05:48,490
taking a year sabbatical before

1445
01:05:48,490 --> 01:05:50,230
I begin my medical
school training.

1446
01:05:50,230 --> 01:05:52,825
Fabulous, and what
brought you to New York?

1447
01:05:52,825 --> 01:05:56,110
I came here to live with a
guy but that didn't work out,

1448
01:05:56,110 --> 01:05:59,380
and then three weeks ago I
suffered a nervous breakdown.

1449
01:05:59,380 --> 01:06:02,140
You see, my father, he
tried to commit suicide,

1450
01:06:02,140 --> 01:06:03,340
and when I came home, I

1451
01:06:03,340 --> 01:06:05,245
found him at the
bottom of the stairs.

1452
01:06:05,245 --> 01:06:06,670
My mother was drunk and she

1453
01:06:06,670 --> 01:06:08,930
accused me of
trying to kill him.

1454
01:06:11,700 --> 01:06:14,620
What did you say your
baby's name was?

1455
01:06:14,620 --> 01:06:17,290
I think you should
know from the start

1456
01:06:17,290 --> 01:06:20,425
that I am a full charge nanny.

1457
01:06:20,425 --> 01:06:25,300
I don't argue and I do not
like to be argued with.

1458
01:06:25,300 --> 01:06:28,735
I will teach your daughter
to properly respect a man.

1459
01:06:28,735 --> 01:06:30,610
I speak only when spoken to.

1460
01:06:30,610 --> 01:06:33,145
I do not need a bed, I prefer
to sleep on the floor.

1461
01:06:33,145 --> 01:06:36,265
I don't have any real
nanny experience,

1462
01:06:36,265 --> 01:06:40,210
but I love kids, and I do
a lot of babysitting for

1463
01:06:40,210 --> 01:06:42,610
people back home
in Meandric Falls.

1464
01:06:42,610 --> 01:06:50,800
You're hired [LAUGHTER]

1465
01:06:50,800 --> 01:06:52,765
Eve, played by Victoria Jackson,

1466
01:06:52,765 --> 01:06:55,195
the girl from Meandric
Falls, is the winner.

1467
01:06:55,195 --> 01:06:56,650
Unfortunately, within
the first week of

1468
01:06:56,650 --> 01:06:59,320
working for her JC
comes home and finds

1469
01:06:59,320 --> 01:07:00,790
her in the throes
of passion with

1470
01:07:00,790 --> 01:07:03,505
a young sailor that she
found that day in the park,

1471
01:07:03,505 --> 01:07:08,110
and the job then goes to the
very strict German woman.

1472
01:07:08,110 --> 01:07:12,760
[LAUGHTER] For common
purposes with parallelism,

1473
01:07:12,760 --> 01:07:14,950
and the ranking of
ties according to

1474
01:07:14,950 --> 01:07:17,980
social and desirability
of the naive evangelical.

1475
01:07:17,980 --> 01:07:19,930
At best she's less attractive,

1476
01:07:19,930 --> 01:07:23,770
then the girl from Meandric
Falls and the strict German,

1477
01:07:23,770 --> 01:07:25,540
and at least as I've welcomed as

1478
01:07:25,540 --> 01:07:27,550
the mentally disturbed
woman who's been

1479
01:07:27,550 --> 01:07:31,450
accused of matricide and
the Middle East stereotype.

1480
01:07:31,450 --> 01:07:34,060
[LAUGHTER] These
films at contoured to

1481
01:07:34,060 --> 01:07:36,280
the naive typology
often appearing as

1482
01:07:36,280 --> 01:07:38,545
a supporting character
in an ensemble piece,

1483
01:07:38,545 --> 01:07:41,155
or a movie with
traditional needs.

1484
01:07:41,155 --> 01:07:43,495
The nanny who got the job
was a cultural innocent

1485
01:07:43,495 --> 01:07:45,655
who reaches out to others
with his or her faith,

1486
01:07:45,655 --> 01:07:47,785
and in comedies like bouldering,

1487
01:07:47,785 --> 01:07:50,455
he's likable and the bet
and good natured joking,

1488
01:07:50,455 --> 01:07:52,330
is evangelical is a Marxist,

1489
01:07:52,330 --> 01:07:53,560
is a cultural outsider,

1490
01:07:53,560 --> 01:07:56,140
but the movie finds a place
for him with Nicole familiar,

1491
01:07:56,140 --> 01:07:59,125
a minor league baseball,
and Steel Magnolias,

1492
01:07:59,125 --> 01:08:01,000
the characters of
geographic outsider

1493
01:08:01,000 --> 01:08:03,144
who finds acceptance
through friendship,

1494
01:08:03,144 --> 01:08:04,750
then becomes a social outsider

1495
01:08:04,750 --> 01:08:06,100
through Christian conversion.

1496
01:08:06,100 --> 01:08:07,300
But then later regains

1497
01:08:07,300 --> 01:08:09,790
unspoken acceptance tacitly

1498
01:08:09,790 --> 01:08:11,530
within this circle of friends.

1499
01:08:11,530 --> 01:08:14,440
In the abbreviated version
in comedies like Baby Boom,

1500
01:08:14,440 --> 01:08:16,540
highlights the contrast
in values between

1501
01:08:16,540 --> 01:08:20,200
quote-unquote normal beings
and religious persons.

1502
01:08:20,200 --> 01:08:22,300
Now the fourth and
final typology

1503
01:08:22,300 --> 01:08:24,190
that I want to discuss here

1504
01:08:24,190 --> 01:08:30,370
tonight is the
insensitive evangelical.

1505
01:08:30,370 --> 01:08:32,710
We can take a look at
a couple of movies

1506
01:08:32,710 --> 01:08:34,330
that Kathy Bates that stars and

1507
01:08:34,330 --> 01:08:38,380
she specializes in this type
of insensitive evangelical.

1508
01:08:38,380 --> 01:08:41,650
In that play which we've
already talked about briefly.

1509
01:08:41,650 --> 01:08:43,840
Kathy Bates portrays a version
of this Hazel Quarrier

1510
01:08:43,840 --> 01:08:46,599
for the mission
nearing to Amazonia

1511
01:08:46,599 --> 01:08:49,465
and the very impatient line

1512
01:08:49,465 --> 01:08:52,105
of Margaret Fourier
at a plan in here,

1513
01:08:52,105 --> 01:08:53,770
this is the group as they are

1514
01:08:53,770 --> 01:08:55,930
first beginning their mission.

1515
01:08:55,930 --> 01:08:57,460
This is less than 20
minutes in the film,

1516
01:08:57,460 --> 01:08:59,140
we've just been
introduced to them.

1517
01:08:59,140 --> 01:09:02,245
We see again the very
contest getting critical.

1518
01:09:02,245 --> 01:09:05,110
Leslie cube when reading
them as their Frank has just

1519
01:09:05,110 --> 01:09:07,900
landed and they're in
a holding pattern.

1520
01:09:07,900 --> 01:09:09,610
There is a halfway point

1521
01:09:09,610 --> 01:09:12,010
between having both
in the Midwest,

1522
01:09:12,010 --> 01:09:13,870
they haven't yet reached
their destination

1523
01:09:13,870 --> 01:09:16,615
in the Amazon forest.

1524
01:09:16,615 --> 01:09:18,490
This is where this picks up here

1525
01:09:18,490 --> 01:09:20,020
as they are getting
ready to embark on

1526
01:09:20,020 --> 01:09:24,310
their missionary duties
at play as fields cohort.

1527
01:09:24,310 --> 01:09:26,020
I have compiled a little near

1528
01:09:26,020 --> 01:09:27,970
dictionary to get
you started here,

1529
01:09:27,970 --> 01:09:29,275
I made a copy on before you.

1530
01:09:29,275 --> 01:09:30,325
Well, that's great.

1531
01:09:30,325 --> 01:09:32,650
You is helping us
with the Lord's work.

1532
01:09:32,650 --> 01:09:34,360
The Catholic opposition had him.

1533
01:09:34,360 --> 01:09:37,030
Now he's ours. I mean,

1534
01:09:37,030 --> 01:09:39,950
now he follows the
true path to God.

1535
01:09:42,300 --> 01:09:49,580
They call this degradation
[FOREIGN]. Mother of God.

1536
01:09:49,830 --> 01:09:54,910
Oh Mr and Mrs. Human [FOREIGN].

1537
01:09:54,910 --> 01:09:56,470
This is father Shorn Tess.

1538
01:09:56,470 --> 01:09:58,660
How do you do? How
was your trip?

1539
01:09:58,660 --> 01:10:03,580
[FOREIGN].

1540
01:10:03,580 --> 01:10:04,630
I'm Martin Korea.

1541
01:10:04,630 --> 01:10:07,480
[FOREIGN], Hazel.

1542
01:10:07,480 --> 01:10:12,200
Please allow me to
practice my poor English.

1543
01:10:12,200 --> 01:10:15,400
Mrs. Courier, if I come
to you for any service,

1544
01:10:15,400 --> 01:10:16,780
please madam, let me know.

1545
01:10:16,780 --> 01:10:19,225
Billy, don't touch that.

1546
01:10:19,225 --> 01:10:24,530
Can't you see everything
here is dirty. Everything.

1547
01:10:24,530 --> 01:10:27,750
Is just a bit of
pineapple. Mrs. Courier.

1548
01:10:27,750 --> 01:10:29,565
Let's go folks.

1549
01:10:29,565 --> 01:10:31,680
You just stay right
with me young man.

1550
01:10:31,680 --> 01:10:33,735
That's the leader
of the opposition.

1551
01:10:33,735 --> 01:10:34,240
Yeah.

1552
01:10:34,240 --> 01:10:35,250
He spent four nights in

1553
01:10:35,250 --> 01:10:38,190
a filthy hotel with awful
food and disgusting bugs.

1554
01:10:38,190 --> 01:10:40,905
Now we have to rot
year for three weeks.

1555
01:10:40,905 --> 01:10:43,260
There's a hotel
right over there.

1556
01:10:43,260 --> 01:10:44,760
The Anaconda.

1557
01:10:44,760 --> 01:10:45,240
That's right.

1558
01:10:45,240 --> 01:11:03,030
[LAUGHTER] [MUSIC]

1559
01:11:03,030 --> 01:11:07,210
They're very good [LAUGHTER].

1560
01:11:07,210 --> 01:11:08,740
This is about 20 minutes into

1561
01:11:08,740 --> 01:11:10,765
a three hours and
eight minute film.

1562
01:11:10,765 --> 01:11:17,380
It only feels three hours
and it's ended [LAUGHTER].

1563
01:11:17,380 --> 01:11:19,105
I stumbled out of it
is film with a friend

1564
01:11:19,105 --> 01:11:22,585
and knowing he said,

1565
01:11:22,585 --> 01:11:23,920
''When this movie I've been

1566
01:11:23,920 --> 01:11:25,120
better if the evangelicals was

1567
01:11:25,120 --> 01:11:27,775
could've turned ugly
or turned evil.''

1568
01:11:27,775 --> 01:11:30,010
I mean, for this to
be the first footing

1569
01:11:30,010 --> 01:11:31,330
that you see of these
characters makes for

1570
01:11:31,330 --> 01:11:35,320
a very long haul,
which is what it is.

1571
01:11:35,320 --> 01:11:37,135
I've heard Peter
Matthiessen speak,

1572
01:11:37,135 --> 01:11:39,100
and of course, he was
very disappointed.

1573
01:11:39,100 --> 01:11:42,550
This movie costs more
than $30 million to make,

1574
01:11:42,550 --> 01:11:44,290
which was an extraordinary
Southern 1991.

1575
01:11:44,290 --> 01:11:45,460
That's actually the average cost

1576
01:11:45,460 --> 01:11:46,900
of an America movie together.

1577
01:11:46,900 --> 01:11:50,890
But it was an enormous
investment a few years ago.

1578
01:11:50,890 --> 01:11:55,420
He feels that the American
public sector wasn't

1579
01:11:55,420 --> 01:11:57,520
ready for a film that had

1580
01:11:57,520 --> 01:11:59,770
a powerful message about
the environment and again,

1581
01:11:59,770 --> 01:12:02,125
in the early '90s, I think
he's just simply wrong.

1582
01:12:02,125 --> 01:12:04,150
I think that America's very

1583
01:12:04,150 --> 01:12:06,145
ripe for a movie with
that type of message,

1584
01:12:06,145 --> 01:12:08,500
Kathy Bates who just
won the Academy Award.

1585
01:12:08,500 --> 01:12:11,320
But I think most people
don't want to see

1586
01:12:11,320 --> 01:12:12,729
one-dimensional characterization

1587
01:12:12,729 --> 01:12:13,990
for more than three hours.

1588
01:12:13,990 --> 01:12:16,690
It's just a very [LAUGHTER]

1589
01:12:16,690 --> 01:12:19,630
arduous task for
anyone to go to.

1590
01:12:19,630 --> 01:12:22,150
This movie wastes
no time as you see

1591
01:12:22,150 --> 01:12:23,830
in establishing
Hazel's provincialism,

1592
01:12:23,830 --> 01:12:26,950
corrupt to spirituality
is displayed in lots of

1593
01:12:26,950 --> 01:12:28,390
different ways through
the completion of

1594
01:12:28,390 --> 01:12:31,520
appreciative beliefs and
the middle-class mores.

1595
01:12:31,650 --> 01:12:34,420
Linnaeus, just a cultural
differences sets

1596
01:12:34,420 --> 01:12:36,190
her up for an
astonishing off as she

1597
01:12:36,190 --> 01:12:38,770
moves from an uptight
Midwestern to a resentful by

1598
01:12:38,770 --> 01:12:40,210
to a final miss things in

1599
01:12:40,210 --> 01:12:42,235
demand as following
her little boy's dad.

1600
01:12:42,235 --> 01:12:43,720
The script further exaggerates

1601
01:12:43,720 --> 01:12:46,405
her insensitivity and
it doesn't need to.

1602
01:12:46,405 --> 01:12:48,400
This movie has a
lot of time that

1603
01:12:48,400 --> 01:12:51,340
is wasted in different
ways because in the book,

1604
01:12:51,340 --> 01:12:55,780
Hazel is aware that now as
they start working together in

1605
01:12:55,780 --> 01:12:58,825
the missionary field that Martin

1606
01:12:58,825 --> 01:13:02,635
becomes sexually attracted to Andy
Huban the Daryl Hannah character.

1607
01:13:02,635 --> 01:13:07,735
Fair enough. She
confronts her about that.

1608
01:13:07,735 --> 01:13:10,390
Legitimately because
it's a concern of

1609
01:13:10,390 --> 01:13:13,645
hers and it's well-written.

1610
01:13:13,645 --> 01:13:15,099
But in the movie,

1611
01:13:15,099 --> 01:13:17,680
they completely eliminate
the sexual attraction

1612
01:13:17,680 --> 01:13:19,570
between the Aidan Quinn and
the Daryl Hannah character,

1613
01:13:19,570 --> 01:13:21,310
but they keep all
the cases paranoia.

1614
01:13:21,310 --> 01:13:23,680
It just seems incredibly
unnecessary why she is

1615
01:13:23,680 --> 01:13:28,240
so unreasonable and
rude to people,

1616
01:13:28,240 --> 01:13:31,150
because they eliminated the
rationale for why she has

1617
01:13:31,150 --> 01:13:32,560
a little patience with

1618
01:13:32,560 --> 01:13:36,175
her husband and her
new missionary plan.

1619
01:13:36,175 --> 01:13:38,320
Another example here,

1620
01:13:38,320 --> 01:13:40,450
a play by Kathy Bates,

1621
01:13:40,450 --> 01:13:43,090
including public work home
from just a little earlier.

1622
01:13:43,090 --> 01:13:46,525
Directed by Emilio Estevez
starring Kathy Bates

1623
01:13:46,525 --> 01:13:49,030
and step as his father March.

1624
01:13:49,030 --> 01:13:53,710
Now, this is adapted from a play
by James Duff called Home Front.

1625
01:13:53,710 --> 01:13:58,945
It's basically Texas as
1972 establish place.

1626
01:13:58,945 --> 01:14:00,250
Again, then Jeremy, he's

1627
01:14:00,250 --> 01:14:02,050
returned home after fighting in

1628
01:14:02,050 --> 01:14:04,990
Vietnam and he's very
emotionally disturbed.

1629
01:14:04,990 --> 01:14:06,340
It's thanksgiving time.

1630
01:14:06,340 --> 01:14:07,810
The mother in this piece,

1631
01:14:07,810 --> 01:14:09,790
Maureen back Kathy Bates,

1632
01:14:09,790 --> 01:14:11,890
is very down, she's
unresponsive to

1633
01:14:11,890 --> 01:14:14,810
her sensing needs and
she also is evangelical.

1634
01:14:14,810 --> 01:14:16,230
Her religious impulse is

1635
01:14:16,230 --> 01:14:18,750
more restraint, than
Hazel Fourier's.

1636
01:14:18,750 --> 01:14:20,370
But the Christian
motives are evident.

1637
01:14:20,370 --> 01:14:22,695
She prunes hands while
pointing in the home.

1638
01:14:22,695 --> 01:14:25,380
There's frame portraits
of Jesus on her mantle.

1639
01:14:25,380 --> 01:14:26,950
The families manage hold.

1640
01:14:26,950 --> 01:14:29,500
She's talking about the Bible.

1641
01:14:29,500 --> 01:14:31,120
Little prayer flags
are everywhere.

1642
01:14:31,120 --> 01:14:33,730
While talking with her son,

1643
01:14:33,730 --> 01:14:36,400
it's also that her Christian
faith rest comfortably

1644
01:14:36,400 --> 01:14:38,320
with blacks at
insensitive remarks

1645
01:14:38,320 --> 01:14:39,370
is that native Americans,

1646
01:14:39,370 --> 01:14:41,515
it's thanksgiving
time back here.

1647
01:14:41,515 --> 01:14:43,420
Her cheerful confidence conceals

1648
01:14:43,420 --> 01:14:45,950
strained relationships
with her families.

1649
01:14:46,440 --> 01:14:49,450
This is a scene where
they were gathering

1650
01:14:49,450 --> 01:14:51,880
together to have breakfast on
thanksgiving day together,

1651
01:14:51,880 --> 01:14:53,170
and some of you are married

1652
01:14:53,170 --> 01:14:54,790
and there's elements of
the scene that might

1653
01:14:54,790 --> 01:14:58,300
prove true many people's lives.

1654
01:14:58,300 --> 01:15:08,080
Because mommy ain't
happy [LAUGHTER].

1655
01:15:08,080 --> 01:15:10,750
Karen, do you know the name
of that Thanksgiving hymn?

1656
01:15:10,750 --> 01:15:13,570
Thanksgiving hymn,
only another one.

1657
01:15:13,570 --> 01:15:17,020
Jeremy sung a little bit
of it earlier, [MUSIC].

1658
01:15:17,020 --> 01:15:23,140
Yeah, I know it.

1659
01:15:23,140 --> 01:15:25,720
I don't know all of it though.

1660
01:15:25,720 --> 01:15:27,010
There's a hymnal right there.

1661
01:15:27,010 --> 01:15:28,270
Why don't you look it up?

1662
01:15:28,270 --> 01:15:42,270
[MUSIC]

1663
01:15:42,270 --> 01:15:44,720
All right, do we have to have
all that record right now?

1664
01:15:44,720 --> 01:15:46,290
Sorry, mother wanted to hear it.

1665
01:15:46,290 --> 01:15:48,600
Well, play it later
after breakfast.

1666
01:15:48,600 --> 01:15:55,920
[NOISE] Here you go.

1667
01:15:59,980 --> 01:16:01,160
Thanks.

1668
01:16:01,160 --> 01:16:10,620
[LAUGHTER] I surprised you?

1669
01:16:10,740 --> 01:16:14,860
You never change.
Did you know that?

1670
01:16:14,860 --> 01:16:16,390
As long as I have known you,

1671
01:16:16,390 --> 01:16:17,665
you have never changed.

1672
01:16:17,665 --> 01:16:20,230
You never think about anyone
but yourself, do you?

1673
01:16:20,230 --> 01:16:27,730
[LAUGHTER]

1674
01:16:27,730 --> 01:16:28,810
Karen, would you play the rest

1675
01:16:28,810 --> 01:16:29,830
of that tune for your mother?

1676
01:16:29,830 --> 01:16:32,620
[LAUGHTER] Forget it,
Bob, just forget it.

1677
01:16:32,620 --> 01:16:34,720
It absolutely
defies description.

1678
01:16:34,720 --> 01:16:36,775
There are no words in the
English language for it,

1679
01:16:36,775 --> 01:16:40,180
I'm going to stop trying,
that's all, I give up.

1680
01:16:40,180 --> 01:16:42,340
I'm sorry, honey.
I wasn't thinking.

1681
01:16:42,340 --> 01:16:45,099
You never think unless
it's about yourself.

1682
01:16:45,099 --> 01:16:47,260
I said I'm sorry.

1683
01:16:47,260 --> 01:16:50,740
Just drop it. Would you

1684
01:16:50,740 --> 01:16:52,780
like a grapefruit
or orange juice?

1685
01:16:52,780 --> 01:16:54,220
[LAUGHTER]

1686
01:16:54,220 --> 01:16:58,360
Grapefruit, I guess [LAUGHTER].

1687
01:16:58,360 --> 01:17:01,630
Twenty seven years and
you always been this way,

1688
01:17:01,630 --> 01:17:03,190
you always be this way [NOISE].

1689
01:17:03,190 --> 01:17:08,470
I don't know why even I
bother to do anything at all.

1690
01:17:08,470 --> 01:17:11,170
Just drop it [NOISE] [LAUGHTER].

1691
01:17:11,170 --> 01:17:12,010
Thank you.

1692
01:17:12,010 --> 01:17:14,140
I'm never going to ask
another living soul

1693
01:17:14,140 --> 01:17:15,490
to play that piano again.

1694
01:17:15,490 --> 01:17:17,200
Do you all have to
argue at the table?

1695
01:17:17,200 --> 01:17:19,320
I'm not arguing.
I'm just thinking

1696
01:17:19,320 --> 01:17:21,450
out loud, that's all [LAUGHTER].

1697
01:17:21,450 --> 01:17:23,520
He doesn't have to say
he's sorry at all as far

1698
01:17:23,520 --> 01:17:25,920
as I'm concerned [NOISE].

1699
01:17:25,920 --> 01:17:27,720
Shouldn't have to go
around apologizing

1700
01:17:27,720 --> 01:17:30,645
your whole life for things
you can't do anything about.

1701
01:17:30,645 --> 01:17:35,430
Lepers, don't apologize for
being lepers [LAUGHTER].

1702
01:17:35,430 --> 01:17:39,865
Well, breakfast is now
absolutely stone cold.

1703
01:17:39,865 --> 01:17:42,460
Where is Jeremy? How come I

1704
01:17:42,460 --> 01:17:44,695
can't get everyone at the
table at the same time?

1705
01:17:44,695 --> 01:17:45,640
He's in the bathroom.

1706
01:17:45,640 --> 01:17:47,680
Jeremy, would you come on now,

1707
01:17:47,680 --> 01:17:52,210
so we can say the
blessing [LAUGHTER].

1708
01:17:52,210 --> 01:17:53,335
I'll say the blessing now.

1709
01:17:53,335 --> 01:17:54,820
I want Jeremy to say it.

1710
01:17:54,820 --> 01:17:56,545
What difference does
it make who says it?

1711
01:17:56,545 --> 01:18:10,270
We will wait [LAUGHTER]

1712
01:18:10,270 --> 01:18:11,395
Jeremy.

1713
01:18:11,395 --> 01:18:13,345
What?

1714
01:18:13,345 --> 01:18:16,330
We're waiting for you
to say the blessing.

1715
01:18:16,330 --> 01:18:17,515
Why me?

1716
01:18:17,515 --> 01:18:18,700
It's your turn.

1717
01:18:18,700 --> 01:18:19,750
We're taking turns now?

1718
01:18:19,750 --> 01:18:21,310
Just say the blessing.

1719
01:18:21,310 --> 01:18:23,275
I don't want to
say the blessing.

1720
01:18:23,275 --> 01:18:25,675
Fine, we'll all just
wait until you do.

1721
01:18:25,675 --> 01:18:27,475
Let me say it. I want to say it.

1722
01:18:27,475 --> 01:18:29,230
Either Jeremy says
the blessing or

1723
01:18:29,230 --> 01:18:31,060
we'll all just sit around
the table and stare at

1724
01:18:31,060 --> 01:18:32,230
each other till Christmas

1725
01:18:32,230 --> 01:18:43,000
[LAUGHTER].

1726
01:18:43,000 --> 01:18:44,740
Fine. I will say the blessing.

1727
01:18:44,740 --> 01:18:46,910
Thank God.

1728
01:18:55,290 --> 01:19:03,280
Amen [LAUGHTER].

1729
01:19:03,280 --> 01:19:04,790
What was that?

1730
01:19:05,790 --> 01:19:07,570
I said the blessing.

1731
01:19:07,570 --> 01:19:08,485
I didn't hear anything.

1732
01:19:08,485 --> 01:19:09,520
I wasn't talking to you

1733
01:19:09,520 --> 01:19:14,290
[LAUGHTER] It's heard by God so I said it
directly to God why isn't that a blessing?

1734
01:19:14,290 --> 01:19:15,820
That is no way to give a grace.

1735
01:19:15,820 --> 01:19:16,900
I can not believe this.

1736
01:19:16,900 --> 01:19:18,925
I'm going to have to get a
chisel to eat my biscuit.

1737
01:19:18,925 --> 01:19:20,740
I will say the blessing.

1738
01:19:20,740 --> 01:19:24,190
Dear Lord, we do thank
you, we praise you.

1739
01:19:24,190 --> 01:19:26,170
We ask your blessing
on this food for

1740
01:19:26,170 --> 01:19:27,340
the nourishment of our bodies

1741
01:19:27,340 --> 01:19:28,630
through Christ, our Lord, amen.

1742
01:19:28,630 --> 01:19:29,590
I'm really getting tired

1743
01:19:29,590 --> 01:19:30,280
of your attitude
[LAUGHTER] [BACKGROUND]

1744
01:19:30,280 --> 01:19:34,900
I think everybody
needs a little coffee.

1745
01:19:34,900 --> 01:19:36,445
I'm not just whistle dixie.

1746
01:19:36,445 --> 01:19:37,555
I didn't say you were.

1747
01:19:37,555 --> 01:19:41,860
Let's all be be happy. It's
Thanksgiving [LAUGHTER]

1748
01:19:41,860 --> 01:19:43,570
Places his childhood
prayer plaque

1749
01:19:43,570 --> 01:19:44,785
on top of this belongings,

1750
01:19:44,785 --> 01:19:46,810
it reads "now I lay, next to

1751
01:19:46,810 --> 01:19:49,045
the cliché picture of a
little boy, named Grant."

1752
01:19:49,045 --> 01:19:50,770
Jeremy smashes it [NOISE],

1753
01:19:50,770 --> 01:19:52,030
points the gun at all of them.

1754
01:19:52,030 --> 01:19:54,100
In the end, Maurine's
myopic concerns

1755
01:19:54,100 --> 01:19:55,750
and evangelical
sensibilities are

1756
01:19:55,750 --> 01:19:57,610
rendered wholly inadequate in

1757
01:19:57,610 --> 01:19:59,965
addressing her son's
emotional self.

1758
01:19:59,965 --> 01:20:01,675
What's the difference in between

1759
01:20:01,675 --> 01:20:03,850
hypocritical Christian
that we talked about

1760
01:20:03,850 --> 01:20:05,080
earlier and the insensitive

1761
01:20:05,080 --> 01:20:07,660
one conscious moral
inconsistencies?

1762
01:20:07,660 --> 01:20:11,335
The people [NOISE] we first,
in the clips that we saw,

1763
01:20:11,335 --> 01:20:12,430
they know that they're saying

1764
01:20:12,430 --> 01:20:13,705
one thing and doing another.

1765
01:20:13,705 --> 01:20:15,640
The types of characters that

1766
01:20:15,640 --> 01:20:18,175
Kathy Bates plays
in these movies,

1767
01:20:18,175 --> 01:20:19,929
they feel they're
very consistent

1768
01:20:19,929 --> 01:20:23,335
and they don't show
any awareness of

1769
01:20:23,335 --> 01:20:25,390
the discrepancies between

1770
01:20:25,390 --> 01:20:27,610
their passive
aggressive behavior

1771
01:20:27,610 --> 01:20:31,840
and their families desires
for greater forbearance.

1772
01:20:31,840 --> 01:20:35,080
In Light of Day, directed
by Paul Schrader from 1986,

1773
01:20:35,080 --> 01:20:36,730
Gena Rowlands plays

1774
01:20:36,730 --> 01:20:39,520
another insensitive
evangelical she's the mother

1775
01:20:39,520 --> 01:20:42,685
of [NOISE] two children

1776
01:20:42,685 --> 01:20:45,010
who are up-and-coming
rock and roll stars,

1777
01:20:45,010 --> 01:20:46,090
Joan Jett and Michael J.

1778
01:20:46,090 --> 01:20:50,605
Fox, brother and sister [LAUGHTER]
odd pair, but it works.

1779
01:20:50,605 --> 01:20:55,270
She uses prayer as a
weapon in a different way,

1780
01:20:55,270 --> 01:20:56,860
but in a similar context,

1781
01:20:56,860 --> 01:20:59,020
she uses it to chastise her kids

1782
01:20:59,020 --> 01:21:04,860
for their failings
after [FOREIGN].

1783
01:21:04,860 --> 01:21:07,095
In each of these films,
the insensitive typology

1784
01:21:07,095 --> 01:21:08,870
elicits minimal sympathy.

1785
01:21:08,870 --> 01:21:10,630
On the movies terms,
the characters

1786
01:21:10,630 --> 01:21:12,070
are unappeasable nags and

1787
01:21:12,070 --> 01:21:13,405
their religious
commitments are judged

1788
01:21:13,405 --> 01:21:15,865
insufficient for coping
with uncertainty.

1789
01:21:15,865 --> 01:21:17,650
They may dominate in
their homes [NOISE],

1790
01:21:17,650 --> 01:21:21,310
but their bourgeoise spirituality
is sorely critiqued.

1791
01:21:21,310 --> 01:21:24,910
Now [NOISE], we've talked about

1792
01:21:24,910 --> 01:21:29,920
four different types of
evangelical images here.

1793
01:21:29,920 --> 01:21:33,115
We have talked about the
hypocritical evangelical,

1794
01:21:33,115 --> 01:21:35,980
the psychotic evangelical,

1795
01:21:35,980 --> 01:21:38,020
the naive evangelical,

1796
01:21:38,020 --> 01:21:40,765
and now finally the
insensitive evangelical.

1797
01:21:40,765 --> 01:21:43,225
Now, in his discussion
of stereotypes,

1798
01:21:43,225 --> 01:21:47,080
Richard Dyer, writer in the
field the cultural studies,

1799
01:21:47,080 --> 01:21:49,270
specifically in a book
about stereotypes of

1800
01:21:49,270 --> 01:21:51,565
alcoholics in film Answer
Penetrating Questions,

1801
01:21:51,565 --> 01:21:55,150
in whose interest are
such distinctions made?

1802
01:21:55,150 --> 01:21:58,960
At this point a comparison is
revealed in another study,

1803
01:21:58,960 --> 01:22:01,570
looking at images of gay
and lesbian characters

1804
01:22:01,570 --> 01:22:03,685
in American movies
throughout the 20th century,

1805
01:22:03,685 --> 01:22:07,960
Dyer examines stereotypes
of gays and lesbians,

1806
01:22:07,960 --> 01:22:10,870
and recognizes the creative
ways that many gays and

1807
01:22:10,870 --> 01:22:12,220
lesbians have used majority of

1808
01:22:12,220 --> 01:22:14,470
images as gutsy
political statements,

1809
01:22:14,470 --> 01:22:16,150
including that this is,

1810
01:22:16,150 --> 01:22:18,310
"in his words both
challenging and

1811
01:22:18,310 --> 01:22:21,160
confusing to contemporary
political thought."

1812
01:22:21,160 --> 01:22:24,550
While the evangelical typologies
discussed here are also,

1813
01:22:24,550 --> 01:22:27,445
in some ways challenging
and confusing,

1814
01:22:27,445 --> 01:22:30,460
the cultural work they
accomplish repeatedly places

1815
01:22:30,460 --> 01:22:33,370
them outside of social
norms and ideals.

1816
01:22:33,370 --> 01:22:36,355
Evangelicalism is best
frequently rendered exotic,

1817
01:22:36,355 --> 01:22:40,030
its associations with, at
best, naivete and ignorance

1818
01:22:40,030 --> 01:22:41,140
and at worst cultural

1819
01:22:41,140 --> 01:22:43,900
insensitivity and
homicidal impulses.

1820
01:22:43,900 --> 01:22:45,640
Ironically, the benign

1821
01:22:45,640 --> 01:22:47,320
religious images
that dominated when

1822
01:22:47,320 --> 01:22:50,350
religious representatives
play consensual roles in

1823
01:22:50,350 --> 01:22:51,370
shaping the content of

1824
01:22:51,370 --> 01:22:53,650
American movies at the
site of production,

1825
01:22:53,650 --> 01:22:55,390
have generally been replaced

1826
01:22:55,390 --> 01:22:57,265
with images that are gripping,

1827
01:22:57,265 --> 01:23:00,850
but equally lacking in
complexity or very similar to.

1828
01:23:00,850 --> 01:23:02,950
What that accounts with
the acceptability of

1829
01:23:02,950 --> 01:23:04,945
representing evangelical
as hypocrites,

1830
01:23:04,945 --> 01:23:07,015
innocents, or psychotics.

1831
01:23:07,015 --> 01:23:09,370
Sociologist Christian
Smith, who visited

1832
01:23:09,370 --> 01:23:12,100
our campus just a couple
of [NOISE] Octobers ago,

1833
01:23:12,100 --> 01:23:13,345
for common day of learning,

1834
01:23:13,345 --> 01:23:15,040
he argues that
American evangelical

1835
01:23:15,040 --> 01:23:17,395
thrive as an internal
religious sub-culture,

1836
01:23:17,395 --> 01:23:20,200
yet often fail in
communicating their values and

1837
01:23:20,200 --> 01:23:23,800
identity to the non-evangelical
American population.

1838
01:23:23,800 --> 01:23:25,525
If filmmakers in general

1839
01:23:25,525 --> 01:23:26,950
might comprise of
a less religious,

1840
01:23:26,950 --> 01:23:28,150
more skeptical group,

1841
01:23:28,150 --> 01:23:30,205
then images of
evangelical and movies

1842
01:23:30,205 --> 01:23:31,885
mirror missed conclusions.

1843
01:23:31,885 --> 01:23:34,929
Evangelicals maintain strong
sub-cultural visibility,

1844
01:23:34,929 --> 01:23:36,400
that often with little outward

1845
01:23:36,400 --> 01:23:38,515
comprehension of who they are.

1846
01:23:38,515 --> 01:23:40,480
As Smith argues, a majority

1847
01:23:40,480 --> 01:23:42,025
of non-evangelical Americans of

1848
01:23:42,025 --> 01:23:45,610
any religious background
cannot define evangelicalism,

1849
01:23:45,610 --> 01:23:47,380
and that the very
qualities that some of

1850
01:23:47,380 --> 01:23:49,030
the evangelical
view as strengths,

1851
01:23:49,030 --> 01:23:50,350
such as being open and

1852
01:23:50,350 --> 01:23:52,135
verbally expressive
about ones faith,

1853
01:23:52,135 --> 01:23:55,075
are perceived as weaknesses
by non-evangelicals,

1854
01:23:55,075 --> 01:23:56,290
then it's not surprising that

1855
01:23:56,290 --> 01:23:58,450
evangelicals are characters
of American movies.

1856
01:23:58,450 --> 01:24:00,715
[NOISE] Smith also poses

1857
01:24:00,715 --> 01:24:03,550
that a majority of
none Americans cannot

1858
01:24:03,550 --> 01:24:06,070
describe differences
between evangelicals who

1859
01:24:06,070 --> 01:24:08,935
seek cultural participation
and social influence,

1860
01:24:08,935 --> 01:24:10,360
and fundamentalist Christians

1861
01:24:10,360 --> 01:24:11,800
who promote cultural separation.

1862
01:24:11,800 --> 01:24:13,660
[NOISE] Smith's finding suggests

1863
01:24:13,660 --> 01:24:14,890
reasons why filmmakers might

1864
01:24:14,890 --> 01:24:16,480
be less sensitive
to evangelicals

1865
01:24:16,480 --> 01:24:18,340
also as a potential audience.

1866
01:24:18,340 --> 01:24:20,515
If a general lack of
understanding persists

1867
01:24:20,515 --> 01:24:22,540
regarding who
evangelicals are and

1868
01:24:22,540 --> 01:24:24,745
filmmakers do not
necessarily consider

1869
01:24:24,745 --> 01:24:27,400
to comprise the mainstream
movie-going audience,

1870
01:24:27,400 --> 01:24:30,595
then the typologies discussed
here are likely to endure.

1871
01:24:30,595 --> 01:24:32,530
Thus evangelicalism's success in

1872
01:24:32,530 --> 01:24:33,760
maintaining a strong sense of

1873
01:24:33,760 --> 01:24:35,845
sub-cultural identity
and authority

1874
01:24:35,845 --> 01:24:38,830
weighted with considerable
public relations problems,

1875
01:24:38,830 --> 01:24:40,150
sheds critical light on

1876
01:24:40,150 --> 01:24:42,400
the nature of such
characterizations.

1877
01:24:42,400 --> 01:24:44,920
Still, the intensity of

1878
01:24:44,920 --> 01:24:47,260
such negative representation is

1879
01:24:47,260 --> 01:24:49,015
still challenging to explain.

1880
01:24:49,015 --> 01:24:50,710
I enjoy aspects of these films.

1881
01:24:50,710 --> 01:24:52,285
I really enjoy Kathy Bates

1882
01:24:52,285 --> 01:24:54,460
with this particular type here.

1883
01:24:54,460 --> 01:24:57,510
She's a delightful actor

1884
01:24:57,510 --> 01:25:00,720
and her performances are
consistently more interesting.

1885
01:25:00,720 --> 01:25:02,430
I'm sure in the scripts
that she's given,

1886
01:25:02,430 --> 01:25:03,930
[NOISE] and you get the
sense that she brings

1887
01:25:03,930 --> 01:25:05,700
a lot more to the set each day,

1888
01:25:05,700 --> 01:25:07,830
and probably [NOISE] the words

1889
01:25:07,830 --> 01:25:10,990
that she was given to perform.

1890
01:25:11,190 --> 01:25:13,930
Despite the prevalence
of such images,

1891
01:25:13,930 --> 01:25:15,609
there's still other
more complicated

1892
01:25:15,609 --> 01:25:17,140
evangelical representations

1893
01:25:17,140 --> 01:25:18,430
that may complicate

1894
01:25:18,430 --> 01:25:19,750
these more familiar types

1895
01:25:19,750 --> 01:25:21,220
that we found. That's the note

1896
01:25:21,220 --> 01:25:23,695
that I would like
to end on here.

1897
01:25:23,695 --> 01:25:27,300
The Apostle. A film directed
by or written directed,

1898
01:25:27,300 --> 01:25:29,430
and starring Robert Duvall

1899
01:25:29,430 --> 01:25:33,180
[NOISE] from 10
years ago, already,

1900
01:25:33,180 --> 01:25:35,290
that's hard to believe [NOISE],

1901
01:25:35,290 --> 01:25:37,600
is a very memorable movie
and it's important for

1902
01:25:37,600 --> 01:25:40,345
us to consider in
this type of context.

1903
01:25:40,345 --> 01:25:42,655
The Apostle is a special film.

1904
01:25:42,655 --> 01:25:44,620
This is a movie about a
Pentecostal minister,

1905
01:25:44,620 --> 01:25:47,530
many of you are familiar
with this particular film,

1906
01:25:47,530 --> 01:25:50,380
a fellow who does a lot
of wrongdoing [NOISE]

1907
01:25:50,380 --> 01:25:53,080
and as such he's on
the run from the law,

1908
01:25:53,080 --> 01:25:54,985
leaves his congregation to form

1909
01:25:54,985 --> 01:25:57,670
another congregation
in a different state,

1910
01:25:57,670 --> 01:26:00,070
and gets a church started here.

1911
01:26:00,070 --> 01:26:03,130
It has my favorite
vehicle of all movie,

1912
01:26:03,130 --> 01:26:06,340
[LAUGHTER] it has the one-way
road to heaven school bus,

1913
01:26:06,340 --> 01:26:09,040
[LAUGHTER] and this is
just a brief little scene

1914
01:26:09,040 --> 01:26:12,890
from Robert Duvall's,
The Apostle.

1915
01:26:12,890 --> 01:26:15,270
I tell you, a spare tire

1916
01:26:15,270 --> 01:26:17,340
without a jack is like
a church without Jesus.

1917
01:26:17,340 --> 01:26:19,380
Amen. [LAUGHTER].

1918
01:26:19,380 --> 01:26:20,565
Is this what you
were looking for?

1919
01:26:20,565 --> 01:26:22,440
Where did you find
it sister Delilah

1920
01:26:22,440 --> 01:26:23,880
Underneath this seat here.

1921
01:26:23,880 --> 01:26:28,260
Give it to me. Glory, thank you.

1922
01:26:28,260 --> 01:26:28,770
[LAUGHTER] [OVERLAPPING]
Everybody give

1923
01:26:28,770 --> 01:26:29,730
a hand clap to Jesus.

1924
01:26:29,730 --> 01:26:32,100
[APPLAUSE].

1925
01:26:32,100 --> 01:26:33,330
Yes, he speaks to me.

1926
01:26:33,330 --> 01:26:34,875
Talks to me most
all of the time.

1927
01:26:34,875 --> 01:26:36,630
You probably never hear
him when he really does

1928
01:26:36,630 --> 01:26:38,640
talk to you because you run
your mouth all the time.

1929
01:26:38,640 --> 01:26:40,980
I ca hardly hear, you can
hear anything. [LAUGHTER].

1930
01:26:40,980 --> 01:26:42,870
Sister Johnson, I figure
you better get off

1931
01:26:42,870 --> 01:26:45,120
the bus now because
if you don't,

1932
01:26:45,120 --> 01:26:47,370
Papa Eneaoff won't be
able to jack it up high

1933
01:26:47,370 --> 01:26:49,695
enough to put this spear on.
[OVERLAPPING] Praise God.

1934
01:26:49,695 --> 01:26:51,300
Come on now ladies,
it's the Sabbath day of

1935
01:26:51,300 --> 01:26:52,050
the Lord not gonna take

1936
01:26:52,050 --> 01:26:53,670
to all this gossip
and nitpicking now.

1937
01:26:53,670 --> 01:26:55,455
I ain't say nothing.

1938
01:26:55,455 --> 01:26:56,730
You said it, nothing from

1939
01:26:56,730 --> 01:26:58,320
nothing lead nothing. [LAUGHTER]

1940
01:26:58,320 --> 01:27:02,040
Come on [OVERLAPPING]

1941
01:27:02,040 --> 01:27:03,420
nitpicking and yelling and

1942
01:27:03,420 --> 01:27:04,590
nipping at each other, come on.

1943
01:27:04,590 --> 01:27:06,375
It's Sabbath day, come on now.

1944
01:27:06,375 --> 01:27:08,490
Let's give a big hand
clap for Jesus Christ.

1945
01:27:08,490 --> 01:27:12,390
[APPLAUSE] Sister
Johnson, come over here.

1946
01:27:12,390 --> 01:27:15,090
Hallelujah. I want you to

1947
01:27:15,090 --> 01:27:17,250
love this woman's
neck and make up now.

1948
01:27:17,250 --> 01:27:19,170
[BACKGROUND] No more fighting.

1949
01:27:19,170 --> 01:27:49,710
[MUSIC]

1950
01:27:49,710 --> 01:27:51,210
Even though he's made a lot

1951
01:27:51,210 --> 01:27:52,830
of really poor decisions
[NOISE] that he will have

1952
01:27:52,830 --> 01:27:54,540
to pay for by the
end of his movie

1953
01:27:54,540 --> 01:27:55,950
but whenever he's with people,

1954
01:27:55,950 --> 01:27:58,920
as he's starting a
new church here,

1955
01:27:58,920 --> 01:28:00,120
you see that he is

1956
01:28:00,120 --> 01:28:03,030
a positive agent of
change in people's lives.

1957
01:28:03,030 --> 01:28:06,120
He also prays by
himself in this film,

1958
01:28:06,120 --> 01:28:08,730
he gets very angry and he
argues with God whenever he's

1959
01:28:08,730 --> 01:28:10,020
disappointed and that's very

1960
01:28:10,020 --> 01:28:11,805
rare representations
of evangelicals.

1961
01:28:11,805 --> 01:28:13,170
Often they will pray,

1962
01:28:13,170 --> 01:28:14,835
but it's usually in
a public context

1963
01:28:14,835 --> 01:28:16,440
where there's some
manipulation that's

1964
01:28:16,440 --> 01:28:17,670
going on and they're
trying to send

1965
01:28:17,670 --> 01:28:19,830
some message which is less
than settled to others.

1966
01:28:19,830 --> 01:28:21,240
What's intriguing
about Sonny Dewey,

1967
01:28:21,240 --> 01:28:23,070
is that he praised throughout
the film in front of

1968
01:28:23,070 --> 01:28:25,140
people by himself and it's

1969
01:28:25,140 --> 01:28:27,090
also significant
because Robert Duvall

1970
01:28:27,090 --> 01:28:28,740
said that part of his
motivation for making

1971
01:28:28,740 --> 01:28:30,840
the movie was that he felt
that religious characters are

1972
01:28:30,840 --> 01:28:33,330
too often given the
shortest shrift

1973
01:28:33,330 --> 01:28:35,730
in terms of stereotype images

1974
01:28:35,730 --> 01:28:38,100
and this [NOISE] to remedy that,

1975
01:28:38,100 --> 01:28:40,560
and he did that very,
very gracefully.

1976
01:28:40,560 --> 01:28:42,465
Now, another film
called The Big Kahuna,

1977
01:28:42,465 --> 01:28:44,340
which we won't take a
look at at the moment.

1978
01:28:44,340 --> 01:28:45,810
I've talked a great
deal about this film in

1979
01:28:45,810 --> 01:28:48,750
different moments on campus.

1980
01:28:48,750 --> 01:28:50,970
The Big Kahuna is
a fine film that

1981
01:28:50,970 --> 01:28:53,400
many people enjoy written
by John Swanbeck.

1982
01:28:53,400 --> 01:28:55,845
It's also based on the
play, Hospitality Suite

1983
01:28:55,845 --> 01:28:57,840
and this is a film
that Kevin Spacey got

1984
01:28:57,840 --> 01:29:00,000
made and it basically

1985
01:29:00,000 --> 01:29:01,200
is a set of

1986
01:29:01,200 --> 01:29:03,750
conversations that evolved
throughout one long night.

1987
01:29:03,750 --> 01:29:06,210
There's a Wichita, Kansas again,

1988
01:29:06,210 --> 01:29:07,830
that place I guess no one wants

1989
01:29:07,830 --> 01:29:10,230
to live [LAUGHTER] and
in this movie that's

1990
01:29:10,230 --> 01:29:13,170
certainly true of these
industrial lubricant salesmen who

1991
01:29:13,170 --> 01:29:16,200
all descend at this conference.

1992
01:29:16,200 --> 01:29:17,760
What happens is a
very young man,

1993
01:29:17,760 --> 01:29:19,905
played by Peter Facinelli, Bob,

1994
01:29:19,905 --> 01:29:24,555
he is a very devout Baptist
and evangelical and as such,

1995
01:29:24,555 --> 01:29:27,090
those are the description
principles guides

1996
01:29:27,090 --> 01:29:30,210
his behavior and the other
two seasoned veterans

1997
01:29:30,210 --> 01:29:32,550
played by Danny DeVito
and Kevin Spacey,

1998
01:29:32,550 --> 01:29:34,350
they don't have a
lot of patience with

1999
01:29:34,350 --> 01:29:36,330
this Christian beliefs and

2000
01:29:36,330 --> 01:29:40,575
this movie is a long series
of conversations and debates.

2001
01:29:40,575 --> 01:29:42,360
What's intriguing just briefly,

2002
01:29:42,360 --> 01:29:44,115
is that Peter
Facinelli is handsome,

2003
01:29:44,115 --> 01:29:45,360
he's more handsome
than the other

2004
01:29:45,360 --> 01:29:46,950
two actors and usually the

2005
01:29:46,950 --> 01:29:50,010
evangelical isn't played by

2006
01:29:50,010 --> 01:29:52,440
actor as physically
attractive as he is.

2007
01:29:52,440 --> 01:29:54,390
But more importantly,
the script really

2008
01:29:54,390 --> 01:29:56,250
allows him to hold his
own and his beliefs are

2009
01:29:56,250 --> 01:29:57,480
explored in as much detail

2010
01:29:57,480 --> 01:29:58,770
in it and with as
much integrity to

2011
01:29:58,770 --> 01:30:01,635
the other person's growth
views and all these men,

2012
01:30:01,635 --> 01:30:03,630
they're changed by each other
at the end of the film,

2013
01:30:03,630 --> 01:30:06,120
the evangelical doesn't just
receive his comeuppance.

2014
01:30:06,120 --> 01:30:08,730
He learns from the other men,

2015
01:30:08,730 --> 01:30:11,250
he realizes they have more
life experience than he does,

2016
01:30:11,250 --> 01:30:15,120
but he still maintains the
integrity of his beliefs.

2017
01:30:15,120 --> 01:30:18,300
It's a very moving film that
many of you would enjoy.

2018
01:30:18,300 --> 01:30:20,670
Last but certainly, not

2019
01:30:20,670 --> 01:30:22,785
least is Philip Morrison's,
[NOISE] Junebug.

2020
01:30:22,785 --> 01:30:24,750
This is a film that many of
you haven't had a chance to

2021
01:30:24,750 --> 01:30:26,820
see and this was released

2022
01:30:26,820 --> 01:30:31,440
just in 2005. A
very recent film.

2023
01:30:31,440 --> 01:30:33,090
It's very near and
dear to my heart.

2024
01:30:33,090 --> 01:30:34,500
Actually it was beth
herself who first

2025
01:30:34,500 --> 01:30:35,880
appointed this
movie out to me and

2026
01:30:35,880 --> 01:30:39,195
this particular
scene especially.

2027
01:30:39,195 --> 01:30:40,700
Not many people
got to [NOISE] see

2028
01:30:40,700 --> 01:30:41,675
this movie in theaters,

2029
01:30:41,675 --> 01:30:46,475
but it's had a wonderful
run on DVD and video now.

2030
01:30:46,475 --> 01:30:48,980
I will just simply say
this is a beautiful movie,

2031
01:30:48,980 --> 01:30:51,535
Phil Morrison is a
dynamic young director

2032
01:30:51,535 --> 01:30:54,675
who has a great career
ahead of him here.

2033
01:30:54,675 --> 01:30:56,985
Junebug is essentially the story

2034
01:30:56,985 --> 01:30:59,190
of a young man who grew up in

2035
01:30:59,190 --> 01:31:01,035
the scrambling North Carolina

2036
01:31:01,035 --> 01:31:04,095
and then moved to
Chicago to the big city.

2037
01:31:04,095 --> 01:31:06,180
He is interested in
art as an artist,

2038
01:31:06,180 --> 01:31:07,965
he meets an art
curator, falls in love.

2039
01:31:07,965 --> 01:31:11,130
They have a whirlwind
courtship and they marry.

2040
01:31:11,130 --> 01:31:13,395
[NOISE] This film starts

2041
01:31:13,395 --> 01:31:16,335
up whenever George and
his wife Madeline,

2042
01:31:16,335 --> 01:31:18,630
return to the North
Carolina for his parents to

2043
01:31:18,630 --> 01:31:21,600
meet his wife for
the very first time.

2044
01:31:21,600 --> 01:31:24,000
What we have here is
a very common thread

2045
01:31:24,000 --> 01:31:25,020
in all kinds of movies where

2046
01:31:25,020 --> 01:31:28,740
urban and rural sensibilities
rub up against each other,

2047
01:31:28,740 --> 01:31:31,335
but just with a great deal of

2048
01:31:31,335 --> 01:31:34,380
honesty and thoughtfulness
and texture.

2049
01:31:34,380 --> 01:31:39,780
It's a very, very
special movie [NOISE].

2050
01:31:39,780 --> 01:31:41,745
This scene is just
a real stand out.

2051
01:31:41,745 --> 01:31:43,845
This takes place in
a church basement,

2052
01:31:43,845 --> 01:31:46,260
this particular
scene and George and

2053
01:31:46,260 --> 01:31:49,605
Madeline had gone to
church with their parents,

2054
01:31:49,605 --> 01:31:51,060
Peg Johnsten played by

2055
01:31:51,060 --> 01:31:55,095
Celia Weston and Eugene Johnsten
played by Scott Wilson,

2056
01:31:55,095 --> 01:31:59,550
as well as his sister,
Ashley played by Amy Adams.

2057
01:31:59,550 --> 01:32:01,140
She's the main gal and she

2058
01:32:01,140 --> 01:32:03,165
got an Oscar nomination
for his role,

2059
01:32:03,165 --> 01:32:04,995
as well as his other brother,

2060
01:32:04,995 --> 01:32:08,190
John played by Ben McKenzie.

2061
01:32:08,190 --> 01:32:12,280
This scene is precious
[NOISE] to me.

2062
01:32:12,980 --> 01:32:16,170
It's very meaningful to
me because I am very

2063
01:32:16,170 --> 01:32:19,215
familiar with this
church basement and

2064
01:32:19,215 --> 01:32:23,040
the pillars that are
[LAUGHTER] holding it

2065
01:32:23,040 --> 01:32:26,160
up and the people

2066
01:32:26,160 --> 01:32:28,410
and the Potluck that is
being formed slowly here.

2067
01:32:28,410 --> 01:32:31,800
I grew up in lots of smaller
United Methodist churches.

2068
01:32:31,800 --> 01:32:34,200
That's the traditions
that I come from and

2069
01:32:34,200 --> 01:32:36,720
all my grandparents
would always liked it

2070
01:32:36,720 --> 01:32:37,920
when we would come to
church with them and

2071
01:32:37,920 --> 01:32:39,240
I never went into

2072
01:32:39,240 --> 01:32:40,620
a United Methodist
Church as a little boy

2073
01:32:40,620 --> 01:32:42,645
where I was not asked to sing.

2074
01:32:42,645 --> 01:32:44,760
That was great and I did that.

2075
01:32:44,760 --> 01:32:47,310
I enjoyed that for many years.

2076
01:32:47,310 --> 01:32:51,810
I just say give me the
microphone, let's go [LAUGHTER].

2077
01:32:51,810 --> 01:32:52,890
As I got older, I didn't

2078
01:32:52,890 --> 01:32:54,480
want to do that so much anymore.

2079
01:32:54,480 --> 01:32:57,840
I would secretly forget

2080
01:32:57,840 --> 01:32:59,730
to bring into my
sheet music with me,

2081
01:32:59,730 --> 01:33:02,625
which was a routine
as a youngster.

2082
01:33:02,625 --> 01:33:04,065
But even then, but I would say,

2083
01:33:04,065 --> 01:33:06,120
"Oh [NOISE] my mom's
not here to play."

2084
01:33:06,120 --> 01:33:07,530
or, "I don't have any music."

2085
01:33:07,530 --> 01:33:09,390
They would just hand a
hymnal to me and say,

2086
01:33:09,390 --> 01:33:12,090
well its Godly intended,
know that [LAUGHTER] and of

2087
01:33:12,090 --> 01:33:15,180
course watch me sing
that yes, I do.

2088
01:33:15,180 --> 01:33:20,175
[LAUGHTER] Fair means or foul,

2089
01:33:20,175 --> 01:33:21,210
I would sing and

2090
01:33:21,210 --> 01:33:23,820
my brother Troy who's
three years older than me,

2091
01:33:23,820 --> 01:33:27,270
and is a very loving
and sensitive

2092
01:33:27,270 --> 01:33:31,980
and quiet young boy and man,

2093
01:33:31,980 --> 01:33:34,185
he was mortified growing up.

2094
01:33:34,185 --> 01:33:35,760
It was so hard for
him whenever I

2095
01:33:35,760 --> 01:33:37,380
would always get up and
sing at these places.

2096
01:33:37,380 --> 01:33:38,820
He wanted to crawl under

2097
01:33:38,820 --> 01:33:41,010
these hard wooden
pews because it just

2098
01:33:41,010 --> 01:33:42,750
was appalling to him [LAUGHTER]

2099
01:33:42,750 --> 01:33:44,970
that somehow this
situation would always,

2100
01:33:44,970 --> 01:33:46,005
even when I didn't
want it to happen,

2101
01:33:46,005 --> 01:33:47,460
it would still happen.

2102
01:33:47,460 --> 01:33:50,250
This really resonates with me

2103
01:33:50,250 --> 01:33:52,830
because there's a moment
when one of the brothers was

2104
01:33:52,830 --> 01:33:55,230
asked to sing and the other
brothers literally will keep

2105
01:33:55,230 --> 01:33:57,210
his back to him

2106
01:33:57,210 --> 01:33:59,280
when he sings and I know
what that feels like.

2107
01:33:59,280 --> 01:34:02,160
[LAUGHTER] The brother,

2108
01:34:02,160 --> 01:34:03,780
Johnny in this case even has

2109
01:34:03,780 --> 01:34:06,780
this pitiful mustache that

2110
01:34:06,780 --> 01:34:08,820
can't quite come in and my
brother had that [LAUGHTER].

2111
01:34:08,820 --> 01:34:14,475
On multiple levels,

2112
01:34:14,475 --> 01:34:18,030
this is a very beautiful moment.

2113
01:34:18,030 --> 01:34:19,380
I'll also say that
some of you will

2114
01:34:19,380 --> 01:34:21,030
recognize some of
the actors in here.

2115
01:34:21,030 --> 01:34:24,750
Now, the camera's going to
slow enhance the faces and

2116
01:34:24,750 --> 01:34:29,010
Celia Weston is George's mother,

2117
01:34:29,010 --> 01:34:31,590
and she's so excited
in that photo and

2118
01:34:31,590 --> 01:34:33,300
Celia Weston played the role

2119
01:34:33,300 --> 01:34:34,935
of the Beth Percy in
Dead Man Walking.

2120
01:34:34,935 --> 01:34:37,035
Dead Man Walking was one
of the greatest films

2121
01:34:37,035 --> 01:34:38,355
of my lifetime,

2122
01:34:38,355 --> 01:34:42,075
and she had just an
unforgettable a role

2123
01:34:42,075 --> 01:34:43,680
as a mother whose daughter

2124
01:34:43,680 --> 01:34:45,360
has been raped and murdered by the
character that Sean Penn plays.

2125
01:34:45,360 --> 01:34:49,545
She is just absolutely Mary
Percy [NOISE] in that movie.

2126
01:34:49,545 --> 01:34:52,180
She plays the mother in
this particular film.

2127
01:34:52,180 --> 01:34:54,020
Her husband played
by Scott Wilson.

2128
01:34:54,020 --> 01:34:55,340
You might remember him as

2129
01:34:55,340 --> 01:34:57,365
Chaplain Farley in
that same film.

2130
01:34:57,365 --> 01:34:59,480
He's the Catholic
priest who is at

2131
01:34:59,480 --> 01:35:02,370
loggerheads against
Sister Helen because he

2132
01:35:02,370 --> 01:35:03,600
wants to take a very different

2133
01:35:03,600 --> 01:35:04,770
track in terms of
the way that she

2134
01:35:04,770 --> 01:35:06,480
ministers to Matthew Poncelet

2135
01:35:06,480 --> 01:35:08,040
and so he's the
priest in that film.

2136
01:35:08,040 --> 01:35:12,855
[NOISE] These two
character actors

2137
01:35:12,855 --> 01:35:14,400
to be in another film together

2138
01:35:14,400 --> 01:35:16,350
after making such an
extraordinary work of art

2139
01:35:16,350 --> 01:35:18,195
like Dead Man Walking
and then for them

2140
01:35:18,195 --> 01:35:20,715
to so effortlessly play
this married couple

2141
01:35:20,715 --> 01:35:23,595
so convincingly in another
little independent film

2142
01:35:23,595 --> 01:35:25,530
a few years later he is a very,

2143
01:35:25,530 --> 01:35:27,360
very special moment in

2144
01:35:27,360 --> 01:35:29,040
American cinema and it
simply [NOISE] won't

2145
01:35:29,040 --> 01:35:31,710
happen again in our
movie going lifetime.

2146
01:35:31,710 --> 01:35:34,590
These actors are great actors

2147
01:35:34,590 --> 01:35:36,780
and this is a terrific
film and I will let you

2148
01:35:36,780 --> 01:35:39,015
for a moment here
just appreciate

2149
01:35:39,015 --> 01:35:41,310
this scene from Junebug.

2150
01:35:41,310 --> 01:36:00,160
[LAUGHTER]

2151
01:36:00,160 --> 01:36:22,781
[BACKGROUND]

2152
01:36:22,781 --> 01:36:24,360
[NOISE] Praise God,
Dan. How are you?

2153
01:36:24,360 --> 01:36:25,710
I've been great.

2154
01:36:25,710 --> 01:36:26,700
Have you been good?

2155
01:36:26,700 --> 01:36:30,600
[BACKGROUND]  My wife Madeline.

2156
01:36:30,600 --> 01:36:34,710
This is Marie. We were
in school together,

2157
01:36:34,710 --> 01:36:36,880
a couple of years apart.

2158
01:36:37,640 --> 01:36:39,810
George Johnston, you can't hide

2159
01:36:39,810 --> 01:36:40,950
from me. Get up here. [LAUGHTER]

2160
01:36:40,950 --> 01:36:41,290
Hey, Bud.

2161
01:36:41,290 --> 01:36:41,970
How are you doing?

2162
01:36:41,970 --> 01:36:42,650
Good. How are you?

2163
01:36:42,650 --> 01:36:44,010
Do you remember Emily?

2164
01:36:44,010 --> 01:36:44,860
Hi, how are you? [OVERLAPPING]

2165
01:36:44,860 --> 01:36:45,540
Hi. How are you?

2166
01:36:45,540 --> 01:36:46,560
I'm wonderful. Thank you.

2167
01:36:46,560 --> 01:36:48,420
Nice to see you. Hey,

2168
01:36:48,420 --> 01:36:51,045
Pastor, this is my wife,
Madeline. This is Bud.

2169
01:36:51,045 --> 01:36:52,470
You're so young.

2170
01:36:52,470 --> 01:36:54,870
[LAUGHTER] It is
nice to meet you.

2171
01:36:54,870 --> 01:37:03,060
[LAUGHTER]

2172
01:37:03,060 --> 01:37:03,810
Say, "Hi, George." Say hi.

2173
01:37:03,810 --> 01:37:04,230
Look, who's that?

2174
01:37:04,230 --> 01:37:09,060
Hi. [NOISE]

2175
01:37:09,060 --> 01:37:10,650
Will we see you tomorrow
morning, Mrs. Johnson?

2176
01:37:10,650 --> 01:37:13,770
[BACKGROUND]

2177
01:37:13,770 --> 01:37:15,630
That's you, darling.

2178
01:37:15,630 --> 01:37:17,220
Oh, me?

2179
01:37:17,220 --> 01:37:18,780
You don't know you are here now.

2180
01:37:18,780 --> 01:37:21,120
No. [LAUGHTER]

2181
01:37:21,120 --> 01:37:22,620
Eugene, I'm just going to
pray with your family here

2182
01:37:22,620 --> 01:37:24,240
real quick and then
I got to get to

2183
01:37:24,240 --> 01:37:29,600
show on the road.

2184
01:37:29,600 --> 01:37:31,080
Lord, I just thank you
for this fellowship

2185
01:37:31,080 --> 01:37:34,155
tonight and for the safe return

2186
01:37:34,155 --> 01:37:36,610
of George to his own flock.

2187
01:37:36,790 --> 01:37:39,830
I pray, Lord, that you

2188
01:37:39,830 --> 01:37:42,095
would bless his
marriage to Madeline.

2189
01:37:42,095 --> 01:37:43,820
Oh God, that it would be

2190
01:37:43,820 --> 01:37:49,290
a spirit-filled union that

2191
01:37:49,290 --> 01:37:53,040
they would see the
impermanence of this world.

2192
01:37:53,040 --> 01:37:55,005
I pray Lord God that you would

2193
01:37:55,005 --> 01:37:56,940
banish the devil and
all evildoers from

2194
01:37:56,940 --> 01:37:59,010
their door no matter

2195
01:37:59,010 --> 01:38:00,420
where they are in
your kingdom, Lord.

2196
01:38:00,420 --> 01:38:04,995
[NOISE] praise you, Jesus. Amen.

2197
01:38:04,995 --> 01:38:05,707
Amen.

2198
01:38:05,707 --> 01:38:05,880
Amen.

2199
01:38:05,880 --> 01:38:06,660
Praise the Lord.

2200
01:38:06,660 --> 01:38:10,800
You ready for that song?
[LAUGHTER] Come on.

2201
01:38:10,800 --> 01:38:14,182
[LAUGHTER]

2202
01:38:14,182 --> 01:38:14,520
Kind of a big room.

2203
01:38:14,520 --> 01:38:17,685
[LAUGHTER] It's good. Come
on. All right, everybody.

2204
01:38:17,685 --> 01:38:21,120
Now, you all knew that
we had a treat when you

2205
01:38:21,120 --> 01:38:24,585
heard George Johnston
was back in town.

2206
01:38:24,585 --> 01:38:26,160
Now, don't tell a lie.

2207
01:38:26,160 --> 01:38:28,020
Who you all thought that
he was going to get

2208
01:38:28,020 --> 01:38:30,060
out of here without
giving us a hymn?

2209
01:38:30,060 --> 01:38:31,710
[LAUGHTER]

2210
01:38:31,710 --> 01:38:32,820
This wasn't my idea.

2211
01:38:32,820 --> 01:38:34,020
[LAUGHTER]

2212
01:38:34,020 --> 01:38:35,935
Now, I know you're
a little rusty,

2213
01:38:35,935 --> 01:38:37,970
so I want to get Eddy Maggy.

2214
01:38:37,970 --> 01:38:40,265
Come on, Eddy, and
bring your son up here.

2215
01:38:40,265 --> 01:38:42,440
Come on up here and we'll help

2216
01:38:42,440 --> 01:38:45,035
this man out. You remember
the number, don't you?

2217
01:38:45,035 --> 01:38:47,240
I think I need the
book. [LAUGHTER]

2218
01:38:47,240 --> 01:38:49,770
It's 283.

2219
01:38:49,770 --> 01:38:54,510
Thank you. [LAUGHTER] See
this one here, he's 16.

2220
01:38:54,510 --> 01:38:56,280
His voice just broke.
He's singing bass.

2221
01:38:56,280 --> 01:39:01,310
[LAUGHTER]

2222
01:39:01,310 --> 01:39:07,310
Softly and tenderly
Jesus is calling.

2223
01:39:07,310 --> 01:39:13,870
Calling for you and for me.

2224
01:39:13,870 --> 01:39:21,075
See on the portals He's
waiting and watching,

2225
01:39:21,075 --> 01:39:26,865
watching for you and for me.

2226
01:39:26,865 --> 01:39:30,550
Come home.

2227
01:39:30,550 --> 01:39:33,830
Come home.

2228
01:39:33,830 --> 01:39:36,270
Come home.

2229
01:39:36,270 --> 01:39:45,060
Ye who are weary come home.

2230
01:39:45,060 --> 01:39:52,950
Earnestly, tenderly
Jesus is calling.

2231
01:39:52,950 --> 01:39:57,120
Calling all sinner come home.

2232
01:39:57,120 --> 01:40:07,290
Oh for the wonderful
love He has promised.

2233
01:40:07,290 --> 01:40:12,460
Promised for you and for me.

2234
01:40:13,340 --> 01:40:16,935
Though we have sinned,

2235
01:40:16,935 --> 01:40:21,240
He has mercy and pardon.

2236
01:40:21,240 --> 01:40:26,250
Pardon for you and
for me. Come home.

2237
01:40:26,250 --> 01:40:30,240
Come home.

2238
01:40:30,240 --> 01:40:35,640
Come home.

2239
01:40:35,640 --> 01:40:37,650
Come home.

2240
01:40:37,650 --> 01:40:45,930
Ye who are weary, come home.

2241
01:40:45,930 --> 01:40:52,845
Earnestly, tenderly
Jesus is calling,

2242
01:40:52,845 --> 01:40:56,610
calling all sinner come home.

2243
01:40:56,610 --> 01:41:18,930
[APPLAUSE]

2244
01:41:18,930 --> 01:41:20,940
I would create the scene
for 100 other movies.

2245
01:41:20,940 --> 01:41:23,400
[LAUGHTER] It's just
a beautiful movie.

2246
01:41:23,400 --> 01:41:25,200
[NOISE] The director
here is influenced by

2247
01:41:25,200 --> 01:41:28,530
the great Japanese
filmmaker, Ozu.

2248
01:41:28,530 --> 01:41:30,990
The shot starts here
with this [NOISE] very

2249
01:41:30,990 --> 01:41:33,405
quiet moment just like
it has absorbed space,

2250
01:41:33,405 --> 01:41:37,635
and then we slowly see
the potluck unfold.

2251
01:41:37,635 --> 01:41:39,300
The camera takes its time and

2252
01:41:39,300 --> 01:41:41,520
just sits in front
of the characters,

2253
01:41:41,520 --> 01:41:44,325
allows us to absorb
each of their faces.

2254
01:41:44,325 --> 01:41:45,840
More is expressed in each of

2255
01:41:45,840 --> 01:41:47,775
these little meeting with
folks [NOISE] the mother,

2256
01:41:47,775 --> 01:41:50,940
father, brother, and the wife,

2257
01:41:50,940 --> 01:41:54,660
and probably about 50
pages of dialogue we do.

2258
01:41:54,660 --> 01:41:58,560
It's just a beautiful moment
that has time and patience,

2259
01:41:58,560 --> 01:42:01,395
and it's still rare
because of that.

2260
01:42:01,395 --> 01:42:04,170
Again, Steven Weston
and Scott Wilson are

2261
01:42:04,170 --> 01:42:05,760
just wonderful actors
and I simply can't

2262
01:42:05,760 --> 01:42:07,890
recommend the film
highly enough too.

2263
01:42:07,890 --> 01:42:11,700
I think you'd really find it
to be a special experience.

2264
01:42:11,700 --> 01:42:14,160
That's it. I gave you
some films and I just

2265
01:42:14,160 --> 01:42:18,780
put side by side
[NOISE] They provide

2266
01:42:18,780 --> 01:42:19,920
a different type
of complex view.

2267
01:42:19,920 --> 01:42:22,455
You have to look for
it, but it's there,

2268
01:42:22,455 --> 01:42:26,445
and they are the movies that
I would most recommend.

2269
01:42:26,445 --> 01:42:30,390
I thank you for this time
that we have had together.

2270
01:42:30,390 --> 01:42:34,635
I'll just briefly thank a few
people here as I wrap up.

2271
01:42:34,635 --> 01:42:37,800
I want to [NOISE] thank
David Shaw, Steve Layman,

2272
01:42:37,800 --> 01:42:41,760
and Segall for their very
insightful feedback,

2273
01:42:41,760 --> 01:42:43,770
[NOISE] for various revisions

2274
01:42:43,770 --> 01:42:45,390
of his presentation
here that I've given.

2275
01:42:45,390 --> 01:42:48,045
Thank you so much for your
wisdom and friendship,

2276
01:42:48,045 --> 01:42:49,845
as well as David
Rither, Peter Moe,

2277
01:42:49,845 --> 01:42:52,290
and David Wicks,

2278
01:42:52,290 --> 01:42:54,060
three fellows who just put

2279
01:42:54,060 --> 01:42:56,100
this lovely
presentation together

2280
01:42:56,100 --> 01:42:58,320
that made this such a pleasure

2281
01:42:58,320 --> 01:43:00,165
to go from one
scene to the next.

2282
01:43:00,165 --> 01:43:00,750
As well as

2283
01:43:00,750 --> 01:43:02,640
the Center for Faculty
Scholarship and Development

2284
01:43:02,640 --> 01:43:04,020
for helping to get
the word out and

2285
01:43:04,020 --> 01:43:05,040
inviting all of

2286
01:43:05,040 --> 01:43:09,315
these warm and lovely
friends and faces here.

2287
01:43:09,315 --> 01:43:11,310
I thank you for letting me share

2288
01:43:11,310 --> 01:43:12,660
some of my affections with you.

2289
01:43:12,660 --> 01:43:42,450
[APPLAUSE]

2290
01:43:42,450 --> 01:43:44,520
This has been delightful.

2291
01:43:44,520 --> 01:43:47,625
Thank you for sharing
your passion.

2292
01:43:47,625 --> 01:43:49,485
What a job you've done by

2293
01:43:49,485 --> 01:43:52,410
the way. [LAUGHTER]
watch movies.

2294
01:43:52,410 --> 01:43:55,170
[LAUGHTER] Just fabulous.

2295
01:43:55,170 --> 01:43:57,900
You know more about movies
than I could imagine.

2296
01:43:57,900 --> 01:44:00,060
I just pray that you

2297
01:44:00,060 --> 01:44:02,310
would share [NOISE] with
us the knowledge and

2298
01:44:02,310 --> 01:44:04,590
understanding these
movies and insights of

2299
01:44:04,590 --> 01:44:08,265
a life of a Christian
Evangelical It's just fabulous.

2300
01:44:08,265 --> 01:44:09,870
Thank you for sharing

2301
01:44:09,870 --> 01:44:13,245
your passion and your
love for these movies.

2302
01:44:13,245 --> 01:44:15,420
Just been a delightful
evening. If

2303
01:44:15,420 --> 01:44:17,925
you would come back
up for a moment.

2304
01:44:17,925 --> 01:44:20,160
I've got a presentation for you

2305
01:44:20,160 --> 01:44:23,069
and then we will enjoy
some refreshments

2306
01:44:23,069 --> 01:44:28,620
[NOISE] In the great tradition,

2307
01:44:28,620 --> 01:44:37,050
[NOISE] legacy, the legend of
Winifried Weter respected,

2308
01:44:37,050 --> 01:44:40,650
revered professor for
so many years here.

2309
01:44:40,650 --> 01:44:45,675
Out of the generosity of
awesome Ross and Barbara Shaw,

2310
01:44:45,675 --> 01:44:54,400
I present to you Todd, the Weter
faculty award lecturer for 2007.

2311
01:44:54,500 --> 01:44:56,700
Let's put this on.

2312
01:44:56,700 --> 01:45:24,300
[LAUGHTER] [APPLAUSE] There are

2313
01:45:24,300 --> 01:45:26,960
refreshments out
in the lobby area

2314
01:45:26,960 --> 01:45:34,687
[BACKGROUND]