Capra’s Christmas story came into my life just when I needed it most.
Part 3 of 3-part series on worldview in Capra’s masterpiece: Click here for Part 1.
Culture maker George Bailey surveys the impact of his life work.
In the fantasy tale Crow and Weasel, Badger declares,
“If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive.”[1]
It’s a Wonderful Life has been just such a story for me.
Sue and I were spending Christmas Eve away far from family and friends, holed up in a downtown hotel in Kansas City, MO on one of the coldest nights on record. We had just made some of the most momentous decisions of our life. We would not return to China where we had thought we would spend our entire careers. We would not accept a prestigious internship that may have launched my career, but would have kept Sue and I apart for nearly a year. Instead, we would devote our lives to serving God as missionaries, not to a foreign country, but to a generation—young intellectuals, artists, and leaders who would shape the world for good.
To say that it was an idealistic decision is a gross understatement. We were going, “All in” to pursue a dream of cultural transformation that was, frankly, crazy. It was also a decision that required a great deal of self-sacrifice. Many friends, family, bosses, and mentors simply didn’t understand. Frankly, we weren’t we sure we understood either. But we were certain that it was God directing us (at least as certain as two doubting idealists living in a physicalist culture could be.) So we talked our idealistic talk over a marvelous dinner in a famous KC steakhouse, prayed our idealistic prayers, and climbed into bed.
Mindlessly, I flipped on the TV. A black and white image of two constellations talking to each appeared on the screen. Why I didn’t change channels I will never know, but slowly the magic of Frank Capra’s film drew us in. Instantly we identified with George and Mary Bailey and their struggle to live out their idealism in a world that seemed determined to beat it out of them. We were transfixed. It was our story. Here was a couple who kept taking punch after punch on the chin, but also kept pursuing their idealistic dream for the benefit of others, all the while wondering they were actually making any difference at all.
A joyous reunion for the redeemed idealist and his family.
It was a holy moment. I suspected God was using Capra’s vision to communicate something of the kind of life our recent live decisions would lead to. And, boy was I ever right. Since that cold Kansas City night our long and winding journey from Big Ten universities, to Christian schools, to the Ivy League, and now Hollywood has proven to be even more of a challenge than we could have ever imagined. And when things have been their darkest, we have returned to the story of It’s a Wonderful Life again and again for strength.
I know it is a bit melodramatic, but I’m not sure I could have made it this far without George Bailey’s example of self-sacrificing idealism vindicated by God’s physicalist intervention in the world. George and Mary Bailey were true two-handed warriors. Watching how their small idealistic decisions added up to the profound cultural influence George experienced in his “triumphal entry” into Bedford Falls fills my heart with strength to do the right thing on a day-to-day basis. And in our darkest hours, just knowing that there is a God and his angels and a great cloud of witnesses looking on, helps me pray, “Lord, help me live again.”
So what lessons can modern day two handed warriors draw from Capra’s tale. Let me propose three.
George and Mary keep their idealist nerve, sacrifice their honeymoon, and save a town from Potter.
The first lesson is just for filmmakers aspiring to both culture-making and faith-building, and it is this: Don’t lose your idealist nerve. By rooting his film in present-day America (at least it was present-day in 1946), Capra went against the trend of his day to express a theistic worldview only in “Bible films.” By portraying a clear and unmistakable (if comic) divine intervention, Capra went against the trend of his day to limit modern-day religious faith to the private subjective realm.[2] (See, Capra’s Saga of a Depressed Idealist.)
In an era when “magical” intervention in the physical world was established as a Hollywood staple, divine intervention is nearly completely missing. This is not to say that filmmakers of faith should never set their films in a physicalist worldview, or resort to a historical, fantasy, and even horror genres to convey their themes,[3] only that Capra’s courage to root George Bailey’s idealism in the radical repudiation of skeptical physicalism through the supernatural in-breaking of God is what is so desperately lacking in today’s films. If filmmakers of faith won’t make divinely supernatural films, who will?
Mary rejoices in the in-breaking of the idealist world into their physical reality: "It's a miracle, George, a miracle!"
Certainly this kind of two-handed filmmaking will require remarkable wisdom and audacity. Wisdom, because physicalist Hollywood will automatically categorize any film with a supernatural element as “Fantasy.” (In fact, AFI now lists It’s a Wonderful Life as a “Fantasy Film.”) Physicalist (especially nihilist) films are held in such high honor in this town that nearly everything else is often viewed as “sentimental hogwash” (except when it is time to balance the budget.) Making films that are both excellent and idealist and even theistic will be an incredible challenge, but I believe it can be done, because it has been done. Gladiator is a recent idealist example, even if it was a period piece.[4]
The truly audacious thing will be if someone follows Capra’s lead and manages to make a critically-acclaimed and commercially-viable theistic idealist film set it in present-day America. It will have to be a spectacular, genre-bending effort, but as Flannery O’Conner put so eloquently:
“When you can assume that your audience holds the same beliefs you do, you can relax a little and use more normal ways of talking to it; when you have to assume that it does not, then you have to make your vision apparent by shock—to the hard of hearing you shout, and for the almost blind you draw large and startling figures.”[5]
It will take the kind of courage Capra demonstrated in making Wonderful Life, and like Capra, it might take years for such courage to be vindicated on the earth, or in heaven. But is that any reason not to try?
In my life journey, I NEEDED a story like Capra’s “more than food to stay alive.” I don’t think I’m alone. But who will make the films that will sustain the next generation of two-handed warriors? Only filmmakers like Capra with the courage to live idealistically. Is that you?
Ricky Gervais: "People who believe in God don’t need proof of his existence, and they certainly don’t want evidence to the contrary."
The second lesson I’d like to draw from Capra’s classic is for those of us–like Ricky Gervais–who are stuck between idealism we intuit to be “true” and physicalism we face with our senses everyday. (See, Ricky Gervais and Sentimental Hogwash.) Let’s be honest, some of us are way too idealistic. We ground our faith in the unseen realm in such a way that our faith is little more than an existential and/or postmodern personal preference. Then, when someone criticizes or critiques our faith with data from the world of sense perceptions we defensively label them an “enemy of the faith.” Perhaps they are. But isn’t it more likely that they are simply a skeptical physicalist waiting for us to provide a demonstration of the in-breaking of the idealist world into this “present evil age.” Maybe they aren’t rejecting our faith so much as the shallow level of experience we’re basing it on.
Jesus never asked his followers to judge the truth-claims of his message based upon “pie-in-the-sky bye-and-bye” idealism. He asked them to base it upon the idealistic kingdom of God breaking into the physicalist world through the “miracles” of supernatural answers to prayer (John 14:12) and/or supernatural unity and love among those who claim to have encountered the risen Christ (John 17:21).
Until Christ followers live lives marked by supernatural power and sacrificial love, I’m afraid that the Ricky Gervais’s of the world are going to have a very hard time taking our truth claims very seriously. Roman Emperor Julian despised the Christ followers of his day, yet he could no escape the reality of their faith in their lives when he confided in a friend:
“…the kindness of Christians to strangers, their care for the burial of their dead, and the sobriety of their lifestyle has done the most to advance their cause… these impious Galileans support our poor in addition to their own… outdoing us in good deeds while we ourselves are disgraced by laziness.”[6]
Sounds like a perfect description of George and Mary Bailey to me. Yet, I mean no disrespect when I say that many of the “media leader Christians” I encounter today remind me more of Mr. Potter than George Bailey. In their preoccupation with wealth and political power, their lives and their careers seem just as dominated by “me, me, me” as any other (nihilistic) physicalist. Is it any wonder that the Ricky Gervais’s of the world have a hard time believing the message we preach?
Capra's cinematic foretaste of THAT day!
The third lesson I’d like to draw from It’s a Wonderful Life is for all two-handed warriors—whether you labor in the Ivy League, Hollywood, Wall Street, or Main Street—Don’t allow the interpreting story of skepticism physicalism to deter you from seeking to co-labor with God in the in-breaking of his kingdom in the world. Follow George Bailey’s lead. Grow a pair. We might just live to see our work transform our culture every bit as much George and Mary’s self-sacrificing idealism transformed Bedford Falls. But even if we never see the full result of our idealistic actions on earth, we must live our lives the way we will wish we had lived them on that day when we finally will see our life from God’s perspective—because someday we will.
Few of us will ever get an invitation to an early screening of our life’s work like George did. Yet Paul of Tarsus assures us that we will “all appear before the judgment seat of Christ, that each one may receive what is due him for the things done while in the body, whether good or bad” (2Corinthians 5:10). To be a two handed warrior is to live for that heavenly red carpet affair, not its pale imitation at the Kodak theatre.
That day is the one when we want the Lord himself (and not some mere angel) to declare, “Well done, you good and faithful servant! You’ve really had a wonderful life.”
Merry Christmas!
Gary David
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The Complete “Teaching Worldview Through Films” Series:
Teaching Worldview Through Academy Award-winning Films
Worldview and the Power of Story
Casablanca and the Four Levels of Worldview (2010 Post of the Year)
Fiddler on the Rood: Worldview Change and Torah
Crash goes the Worldview: Why Worldview Transformation Requires Changing Scripts
Ricky Gervais, the Golden Globes, Atheism and Sentimental Hogwash: It’s a Wonderful Life, Part 1
Capra’s Tale of a Depressed Idealist, It’s a Wonderful Life, Part 2
The Courage to Live Idealistically: It’s a Wonderful Life, Part 3
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Other Film-Related Posts by Gary David Stratton:
Using Worldview to Create Academy Award-winning Films
Deep Culture: Is Winning an Oscar a Reliable Indicator of a Truly Great Film?
High Culture, Pop Culture: What about FIlms with ‘Deep Culture’?
Why Making Films with ‘Deep Culture’ Impact is so Elusive.
My All-Time Favorite ‘Deep Culture’ Films (including a film from 2010)
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Film-Related Guest Posts:
Using Zombie Movies To Teach Politics, by Daniel W. Drezner
Guard your Calling, Frodo, by John Ortberg
Good Will Hunting and the Rob Bell Controversy, by Mike Frieseny
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Notes
[1] Barry Holstun Lopez, Crow and Weasel (San Francisco: North Point Press, 1990).
[2] Look for a future post on the fascinating relationship between worldview and film genre.
[3] Such as Academy Award nominees, The Robe (1953), and The Ten Commandments (1956), and Oscar-winner Ben-Hur (1959).
[4] Look for a future post on Gladiator.
[5] Flannery O’Connor, Robert Fitzgerald, and Sally Fitzgerald, Mystery and Manners (New York: Farrar, Straus and Giroux, 1961). Italics mine.
[6] Julian Caesar, “Letter to Arsacius,” Based in part on the translation of Edward J. Chinnock, A Few Notes on Julian and a Translation of His Public Letters (London: David Nutt, 1901) pp. 75-78 as quoted in D. Brendan Nagle and Stanley M. Burstein, The Ancient World: Readings in Social and Cultural History (Englewood Cliffs, NJ; Prentice Hall, 1995) pp. 314-315. Introduction and e-text copyright 2005 by David W. Koeller timemaster@thenagain.info. All rights reserved.
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