[Note: Every Friday on First Thoughts we host heated, half-serious, half-cocked arguments about some aspect of pop culture. Today’s theme is spiritually significant films. Have a suggestion for a topic? Send them to me at jcarter@firstthings.com]
I’m a sucker for movies, lists, and religious discussions. So when Arts & Faith started compiling lists of Top 100 Spiritually Significant Films in 2004, my interest was naturally piqued. (They’ve put the list out a few other times but this seems to be the best version.)
After seeing the list, though, I was left with a vague sense of disappointment. While there are many worthy inclusions, overall the list feels rather sparse and banal. Maybe that is an inevitable result of the list being compiled by popular vote. Or perhaps its due to the short time film has been an art form as compared to other mediums, such as literature. Then again it could be that I haven’t viewed enough of the films listed (I’ve only seen 48 of the 100). Whatever its shortcomings, the compilation does serve the primary purpose of such listmaking: to offer an abundance of material for debate. In that regard, the effort is a complete success.
Included amidst such spiritual gems as The Apostle and Ponette are ho-hum entries like Fearless and Secrets and Lies. As soon as you begin to wonder what the voters could have been thinking, you find they’ve snuck in a few minor masterpieces (Groundhog Day, Unforgiven) that might have otherwise been overlooked. But just as soon as they regain my confidence I have to question how they could include Lars von Trier’s Dogville but not his hauntingly beautiful Dancer in the Dark. And what about . . . well, you get the idea.
Listed below are the hundred titles that were included (the ones I’ve seen are highlighted in bold). Beside the entries I’ve added a rating of one to four asterisks. The scale is not a measure of the movies overall quality but on what I would deem its “spiritual significance.”
13 Conversations About One Thing, 2001, Jill Sprecher
2001: A Space Odyssey, 1968, Stanley Kubrick (*)
The Addiction, 1995, Abel Ferrara (*)
Amadeus, 1984, Milos Forman (**)
American Beauty, 1999, Sam Mendes (0 stars)
Andrei Rublev, 1969, Andrei Tarkovsky
The Apostle, 1997, Robert Duvall (****)
Au Hasard Balthazar, 1966, Robert Bresson
Babettes Gestebud (“Babette’s Feast”), 1987, Gabriel Axel
Bad Lieutenant, 1987, Abel Ferrara (*)
Bad ma ra khahad bord (“The Wind Will Carry Us”), 1999, Abbas Kiarostami
The Big Kahuna, 1999, John Swanbeck
Blade Runner, 1982, Ridley Scott (***)
Breaking The Waves, 1996, Lars von Trier (***)
Changing Lanes, 2002, Roger Michell (**)
Chariots of Fire, 1981, Hugh Hudson (***)
Code inconnu (“Code Unknown”), 2000, Michael Haneke
Crimes And Misdemeanors, 1989, Woody Allen
Days of Heaven, 1978, Terrence Malick
Dead Man Walking, 1995, Tim Robbins (**)
Dekalog (“The Decalogue”), 1987, Krzysztof Kieslowski (****)
Dersu Uzala, 1975, Akira Kurosawa
Dogma, 1999, Kevin Smith (**)
Dogville, 2003, Lars von Trier (*)
La Dolce vita, 1960, Federico Fellini (*)
The Elephant Man, 1980, David Lynch
Eternal Sunshine of the Spotless Mind, 2004, Michel Gondry (**)
Fearless, 1993, Peter Weir (*)
Fight Club, 1999, David Fincher (***)
Le Fils (“The Son”), 2002, Jean-Pierre & Luc Dardenne
Fuori dal mondo (“Not of This World”), 1999, Giuseppe Piccioni
Grand Canyon, 1991, Lawrence Kasdan (*)
Groundhog Day, 1993, Harold Ramis (***)
Hell House, 2001, George Ratliff
Henry V, 1989, Kenneth Branagh (***)
Der Himmel ¸ber Berlin (“Wings of Desire”), 1987, Wim Wenders
Ikiru (“To Live”), 1952, Akira Kurosawa
It’s A Wonderful Life, 1946, Frank Capra (****)
Jean de Florette, Manon des sources, 1986, Claude Berri (**)
Jesus De Montreal (“Jesus of Montreal”), 1989, Denys Arcand
Jesus Of Nazareth, 1977, Franco Zeffirelli
Le Journal D’un CurÈ De Campagne (“The Diary of a Country Priest”), 1951, Robert Bresson
Ladri di biciclette (“The Bicycle Thief”), 1948, Vittorio De Sica
The Last Days of Disco, 1998, Whit Stillman (**)
The Last Temptation Of Christ, 1988, Martin Scorsese
Life of Brian, 1979, Terry Jones (**)
The Lord of the Rings: The Fellowship of the Ring, The Two Towers, The Return of the King, 2001-2003, Peter Jackson (***)
Ma nuit chez Maud (“My Night At Maud’s”), 1969, Eric Rohmer
Magnolia, 1999, Paul Thomas Anderson (***)
A Man For All Seasons, 1966, Fred Zinnemann (***)
The Matrix, 1999, Andy & Larry Wachowski (***)
Mies vailla menneisyytt‰ (“The Man Without A Past”), 2002, Aki Kaurismaki
The Miracle Maker, 2000, Derek W. Hayes & Stanislav Sokolov
The Mission, 1986, Roland Joffe (***)
Nema-ye Nazdik (“Close-Up”), 1990, Abbas Kiarostami
The Night Of The Hunter, 1955, Charles Laughton
Offretó Sacrificatio (“The Sacrifice”), 1986, Andrei Tarkovsky
On The Waterfront, 1954, Elia Kazan (*)
Ordet (“The Word”), 1955, Carl Theodor Dreyer
La Passion De Jeanne D’arc (“The Passion of Joan of Arc”), 1928, C. Dreyer
The Passion Of The Christ, 2004, Mel Gibson (**)
Peter and Paul, 1981, Robert Day
Ponette, 1996, Jacques Doillon (****)
The Prince Of Egypt, 1998, Brenda Chapman, Steve Hickner, Simon Wells (*)
La Promesse, 1996, Jean-Pierre & Luc Dardenne
Punch-Drunk Love, 2002, P.T. Anderson (*)
Roma, citti aperta (“Open City”), 1945, Roberto Rossellini
Sansho Dayu (“Sansho the Bailiff”), 1954, Kenji Mizoguchi
Schindler’s List, 1993, Steven Spielberg (***)
Secrets & Lies, 1996, Mike Leigh (*)
Shadowlands, 1993, Richard Attenborough
The Shawshank Redemption, 1994, Frank Darabont (***)
Signs, 2002, M. Night Shyamalan (**)
The Sixth Sense, 1999, M. Night Shyamalan (**)
Det Sjunde Inseglet (“The Seventh Seal”), 1957, Ingmar Bergman (***)
Smultronst llet (“Wild Strawberries”), 1957, Ingmar Bergman
Solyaris (“Solaris”), 1972, Andrei Tarkovsky
Stalker, 1979, Andrei Tarkovsky
Star Wars, The Empire Strikes Back, Return of the Jedi, 1977, 1980, 1983, George Lucas, Irvin Kershner, Richard Marquand (*)
Stevie, 2002, Steve James(**)
The Straight Story, 1999, David Lynch (*)
Sunrise: A Song of Two Humans, 1927, F.W. Murnau
Sanger fran andra vaningen (“Songs From the Second Floor”), 2000, Roy Andersson
The Sweet Hereafter, 1997, Atom Egoyan (***)
Tender Mercies, 1983, Bruce Beresford (***)
Trois coulers: Bleu, Trzy kolory: Bialy, Trois coulers: Rouge (“Three Colors: Blue, White, Red”), 1993, 1994, 1994, Krzysztof Kieslowski (***)
Tokyo Monogatari (“Tokyo Story”), 1953, Yasujiro Ozu
The Truman Show, 1998, Peter Weir (***)
Unforgiven, 1992, Clint Eastwood (****)
Il Vangelo Secondo Matteo (“The Gospel According to Matthew”), 1964, Pier Paolo Pasolini
Vanya on 42nd Street, 1994, Louis Malle (*)
Le Vent souffle o˘ il veut (“A Man Escaped”), 1956, Robert Bresson
La Vita Ë bella (“Life is Beautiful”), 1997, Roberto Benigni (**)
Vredens dag (“Day of Wrath”), 1943, Carl Theodor Dreyer
Waking Life, 2001, Richard Linklater
Werckmeister Harmonies, 2000, Bela Tarr
Witness, 1985, Peter Weir (*)
The Year Of Living Dangerously, 1982, Peter Weir
Yi yi (“Yi Yi: A One and a Two”), 2000, Edward Yang
Zerkalo (“The Mirror”), 1975, Andrei Tarkovsky
Agree with my choices and ratings? Which films would you include? And which films on the list should I watch?
November 20th, 2009 | 9:24 am
Very few films have the power to make me emotional, but just thinking about Ponette quickens my heart and moistens my eye.
November 20th, 2009 | 9:35 am
Seems like a fun excercise, but one bit particularly baffled me: how on earth does The Passion of the Christ get only two stars for “spiritual significance”? You must be defining those terms *very* differently from how I’m defining them…
November 20th, 2009 | 9:54 am
The Wizard of OZ, an almost perfect movie (I could do without the Munchkins), most certainly belongs on the list.
Below the surface, but unmistakenly powerful are spiritual messages of faithfulness, justice, fortitude, astonishing courage. And the film is immensely entertaining, regardless of one’s age.
I would argue that if you are not moved by the simple concluding scenes, you do not qualify as a human being.
November 20th, 2009 | 9:55 am
Richard just thinking about Ponette quickens my heart and moistens my eye.
I first saw Ponette when I was still a relatively young, cynical, and hardened sergeant in the Marine Corps. I hadn’t cried at a movie since I was a kid and they shot Ol’ Yeller. But Ponette broke me. It was the most emotionally devastating acting I’d ever seen—and was by a four-year-old girl!
Warning: If you’re a parent, do not watch that movie without a box of tissue handy.
Miguel how on earth does The Passion of the Christ get only two stars for “spiritual significance”?
The only reason it got even two stars was because of the subject matter. The movie itself isn’t much more than torture porn for Christians. I think the only spiritual impact it can have is for someone who is already familiar with the story and reads the significance into the film, rather than getting it from what occurs on screen.
November 20th, 2009 | 9:55 am
Babette’s Feast is definitely one to watch. It’s visually splendid, sacramental and makes the case for Providence.
November 20th, 2009 | 9:58 am
I’m interested to know why “On the Waterfront” gets only one star for spiritual significance? I can’t imagine what spiritual significance means if it doesn’t include the story of man standing up to institutional evil after being purged of his baser motives through the right-hook of a beer-drinking priest (all to the music of Leonard Bernstein). Anyway, for me it was about as spiritually significant as a movie can be.
So much for my beef. Kudos for recognizing “The Decalogue” and “Groundhog Day.”
November 20th, 2009 | 10:00 am
You really need to see Babette’s Feast.
November 20th, 2009 | 10:02 am
We should include the two wonderful monastery films that have been made in the past few years: Die große Stille and Ostrov. I would give both of them 4 stars on the “spiritually significant” scale.
I would also put the film version of Greene’s The End of the Affair on the list, but with fewer than 4 stars.
November 20th, 2009 | 10:07 am
Many of the best films here are ones you haven’t seen, Joe. Au Hasard Balthasar, Babette’s Feast, Days of Heaven, The Son, Not of this World, Sunrise, Yi Yi, Wings of Desire, Ikiru, Man Without a Past, Diary of a Country Priest, Ordet, all the Tarkovskys–all among my favorites. If anything you must see ORDET.
November 20th, 2009 | 10:14 am
I would add “Master and Commander” to the list. Any contemporary movie where men recite the Our Father together in the midst of grave duty and fellowship should count as spiritual.
November 20th, 2009 | 10:27 am
Hi Joe, thanks for explaining. I think you are very much mistaken about The Passion. Sure, it’s relentlessly violent, but I think it does to that (or with that) violence is precisely what Jesus says to his mother as he carries the cross, in what was for me one of the most moving scenes in the movie: “See mother, I make all things new.” You say that the film fails because it works only if readers read the significance “into the film,” but isn’t that perhaps it’s stregth? What I mean by this is that I think the filmakers where correct in assuming that the vast majority of their audience — whether Christian or non-Christian — would already be familiar with the story. For this reason I think this “reading into” is built into the construction of the film and therefore even as it is something extrinsic to it, it is also intrinsic in the deeper sense. It assumes this reading into and builds on it, allowing viewers to enter more deeply into the reality of the Passion.
I think you are too quick to discount the real effect this film had on thousands of people — perhaps because it seems to you in bad taste, or not in line with your sensibilities. I’m not saying that thousands of people can’t be wrong — they oh-so-very-often are, especially when it comes to taste in movies — but I think in this case the sincerity of people’s reactions might be worth at least a second thought.
November 20th, 2009 | 10:31 am
Glad to see “Signs” on the list: a film involving the invasion of earth by flying saucers and mean-looking aliens–which isn’t really too concerned with the invasion when compared with one man’s spiritual transformation.
“Passion of the Christ” as “torture porn”? Perhaps. Perhaps also a series of iconic images reminiscent of Caravaggio?
And don’t hold back: What do you REALLY think of “2001″? :)
November 20th, 2009 | 11:15 am
You should really see Wings of Desire. I first saw it in graduate school. Excellent film.
November 20th, 2009 | 11:36 am
You must, must see Murnau’s “Sunrise.” Also, Waking Life, Ikiru and Days of Heaven.
I was surprised that these two didn’t make the list: Roberto Rosselini’s “The Flowers of St. Francis,” and Hirokazu Kore-eda’s “After Life.”
November 20th, 2009 | 11:37 am
Joe,
Tickletext is right- you haven’t seen any of the really important ones on that list.
A thorough awareness of “spiritual films” definitely requires viewings of all of the Tarkovsky films- start with “Andrei Rublev”, all of Robert Bresson’s work (these are two of the most spiritually aware filmmakers of all time), Ozu’s “Tokyo Story”, Kaurismaki’s “The Man Without a Past”, the films by the Dardennes, Wenders’ “Wings of Desire”, Dreyer’s films “Passion of Joan of Arc” and “Ordet”, Malick’s “Days of Heaven”, Kurosawa’s “Ikuru”, Murnau’s “Sunrise” and also the films by the greatest living filmmaker- Bela Tarr “Werckmeister Harmonies”, and especially his film “Satantango” which for some reason isn’t on the list. Also a good companion to the Wenders film “Wings of Desire” would be Jean-Luc Godard’s film “Hail Mary”.
November 20th, 2009 | 11:41 am
oh and I forgot a couple more- Mizoguchi’s films “Sansho the Bailiff” and especially “Ugetsu”, and another one that should be on the list Rosi’s “Three Brothers”/”Tre fratelli”.
November 20th, 2009 | 12:01 pm
I would have put “Lilies of the Field” on the list.
November 20th, 2009 | 12:12 pm
I cast another vote for Ostrov!
November 20th, 2009 | 1:44 pm
I’ve gotta agree with Joe on Passion of the Christ. I wanted so much to like that film, but it left me feeling empty.
November 20th, 2009 | 1:59 pm
It’s tough to grok what they meant by “spiritually significant.” “Unforgiven” was a fine and powerful movie, for example, but the only way it becomes spiritually significant is if one is moved by the dilemma of a man who can do nothing well besides murder. I’m not sure what they’re after.
Having said that, if I’m correctly grasping what they mean by “spiritually significant,” I could add a few items to the list:
Sling Blade
Saving Private Ryan
The Incredibles (I’d give this one four stars for significance)
The End of the Spear
Brother Sun, Sister Moon (not a great film, but significant)
Joan of Arc (Fleming’s 1948 version, with Ingrid Bergman)
Becket
Life is Beautiful
and perhaps The Lives of Others.
Beyond that, I know I’m a minority of one regarding this, but I found Wings of Desire pretentious and boring — so boring, in fact, that I fast-forwarded through much of it. The Hollywood remake, City of Angels, I thought was much more entertaining, and actually said clearer and more meaningful things.
November 20th, 2009 | 2:04 pm
Regarding spiritual significance, I recommend, if you have not seen it,
The Widow of St-Pierre, directed by Patrice Leconte.
November 20th, 2009 | 2:41 pm
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November 20th, 2009 | 3:21 pm
The man hasn’t seen Babette’s Feast! Oh, the humanity! I would add Solaris from 2002.
November 20th, 2009 | 4:56 pm
I’d lobby to change the rubric from “spiritually significant” to “honest” and rework this list and the ratings a little… but for the most part I cannot cast a stone because it seems there are many terrific movies I have yet to see!
November 20th, 2009 | 4:56 pm
“A Simple Plan” belongs on the list.
November 20th, 2009 | 5:29 pm
Pasolini’s “The Gospel According to St. Matthew.” The opening shot of Mary is so arresting. I remember thinking to myself, “So that’s what Mary looked like!”
November 20th, 2009 | 5:31 pm
Oops. I just saw that Pasolini’s film is already on there, under its Italian title.
November 20th, 2009 | 8:20 pm
I agree with Mike & Mark & whoever else: drop everything and go watch Babette’s Feast.
I would also add: Kenneth Lonergan’s brilliant “You Can Count on Me,” to me one of the most profound meditations on life/death and the limited resources that the post-modern man/woman has to deal with these. Lonergan’s an agnostic, possibly an atheist, but he thinks honestly and well. He’s not one of those who spend their energy congratulating themselves on not being as blind as those who “cling to guns and God.” He knows that those of his own ilk are in some trouble and don’t have the answers that are needed.
Also: Diving Bell and the Butterfly about the French “Cosmo” editor (or whatever the style magazine was that he edited) who was completely paralyzed – only able to communicate through blinking his eyes. Without necessarily embracing formal faith, he nevertheless comes to a reconciliation with his loss that would impress John of the Cross, in my view.
“Millions” – from the creator of “Shallow Grave” and “28 Days Later,” Danny Boyle, comes a “family film of limitless imagination and surprising joy” – believe it or not! It’s about a boy who sees & talks with saints. Good Christmas film as that’s when it’s set.
It’s maybe stretching the definition, but I’ve always loved “A Cry in the Dark,” starring Meryl Streep as the Australian 7th Day Adventist, Lindy Chamberlain, who was put on trial for the murder of her 9-week old daughter. The movie is really more of a sociological study of media and society, but Lindy’s faith and sturdy character are clearly and impressively conveyed.
I go with Miguel and others – The Passion of Christ is a 3-star, not perfect, but some beautiful filmmaking. Crucifixion *was* torture porn. All of the other violence in our cinema and entertainment – this had a redeeming purpose which was clearly portrayed.
Signs and Star Wars, otoh, are dreck.
The Mission I’d give only 2 stars – nice effort, the first 45 minutes are a brilliant and moving conversion story, but after that it loses its dramatic momentum.
Henry V is spiritual? I mean, in particular?
Very glad to see others’ recommendations – I’ll put them on my Netflix list, starting with Ponette.
November 20th, 2009 | 8:49 pm
I wish television episodes counted; I can think of two I could mention. As for movies — take a look at LAST CHANCE HARVEY from, 2008. There are two obvious scenes: Harvey (Dustin Hoffman) gives the wedding toast to his daughter in which he apologizes for divorcing her mother and what that abandonment did to his “little girl;” and, Emma Thompson after a night of dancing and wandering around London with Harvey, confesses the great regret of her life: aborting her child. But, there are throughout the existential moments that portray the spiritual emptiness I saw too often in the NY publishing world of the 1980s among smart, attractive, and successful women. Hoffman hasn’t been this good since STRAIGHT TIME (which, come to think of it, might also qualify). Sometimes Hollywood gets out of its way and tells an unexpected story.
November 20th, 2009 | 10:04 pm
“Midnight Cowboy”. The longing for paradise in the midst of this sordid existence.
November 20th, 2009 | 11:02 pm
Two movies not on the list: “The Exorcism of Emily Rose” (which I have not seen) and “Doubt” (which I have). Any thoughts on these?
November 22nd, 2009 | 3:38 pm
I would add La Belle et La Bête (The Beauty and The Beast) (1946). The fairytale romance and visual gloriousness of the film may obscure for some the exploration of the nature of the human soul, but it very much there.
November 23rd, 2009 | 6:22 pm
Joe,
I appreciate your discovery of the A&F list. It has been my “go-to” list for movie rentals for years.
Still, I just about choked when you called “Fearless” and “Secrets and Lies” … “ho-hum.”
Really?
You realize that the group was voting for Peter Weir’s celebrated film about the plane-crash survivor, and not the Jet Li action film of the same title, right?
These films were chosen by a wide variety of moviegoers — writers, critics, pastors, teachers, parents, college students, editors, etc. — but here’s what they have in common: they see, and usually write about, a long list of international releases every year. If “Fearless” is on the list, it’s because *many* people, on their own, without conspiracy, are saying that it was “spiritually significant” to them.
Me? I’ve seen all of Peter Weir’s films, and it’s the one that means the most to me. It gave me a powerful exploration of the *cost* of living in relationship with other broken human beings. It gave a vivid picture of how appealing it can be to live with a sort of moral superiority and smugness — a temptation often common to critics, it turns out — as opposed to living humbly, and honestly, in our troubled bodies and with all of our contradictions. What Jeff Bridges’ character experiences in that film is a very unique redemption story, one that moves me and inspires me not just emotionally, but intellectually as well.
I’m not saying it therefore *must* move you, Joe, in the same way. But keep in mind: It’s on the list because many passionate film lovers, Christians all of them (I believe) found this one worth celebrating, not only for the excellence of its artistry, but for the questions it opens up for exploration.
No offense, but you’re *one* moviegoer who doesn’t share the love. Take almost any of these titles that *you* love, and some of the voters would probably have been “ho-hum” on that one too.
What’s valuable to me about this list is that a *majority* of the moviegoers polled — moviegoers whose often-conflicting perspectives and reviews at ArtsandFaith.com I respect — stepped up to recommend these particular titles. That these selections have inspired so many of them tells me that each title is well worth taking seriously. Even if they don’t bowl me over the way they did others.
“Secrets and Lies”? A film about prejudice, class, sacrificial love, reconciliation, peacemaking, and the devastating effects of suppressed truth… it’s my favorite from Mike Leigh’s incredible filmography, and apparently the favorite of many others as well. I’m sorry you didn’t care for it, but please… consider that maybe it’s “ho-hum” to you, but revelatory to many others, and not easily dismissible just because you say so.
Further, I’m not sure what you mean to say when you claim that this list is “the best version.” Does “the best” mean “your favorite”? Even this group of voters cannot arrive at a “provable” result. Every year they revise this list, some have grown in the voters’ estimation, while others have diminished. That’s what’s so great about art. We can come to some conclusions about excellence and artistry, but so much of what *moves* us about a work of art has to do with our individual experiences and preferences.
Personally, I found “Groundhog Day” ho-hum, but that’s just me. I would never argue that it hasn’t been revelatory to many others. The sheer number of testimonies in its favor tells me that it probably belongs on this list.
“Dancer in the Dark”? I thought it was abusive to the audience; that’s sure how it felt to me. But many of the film reviewers I respect have helped me see why it moved so many people, and thus I’m happy it’s on the list – even though I personally never want to see it again.
Okay… rant over.
Again, I’m glad you found the list worth mentioning. I’m hoping that we see a revised list one of these days, as many other great films have been released since the last version of the A&F Top 100 was published.
Jeffrey Overstreet
lookingcloser.org
P.S. If you promise to watch “Secrets and Lies” again — with a group, and then discuss it afterward — I’ll be happy to give “Dancer in the Dark” another go.
November 23rd, 2009 | 6:56 pm
P.S. Oops, okay so you’re right, “Dancer” isn’t on the 2004 version of this list. But I seem to recall that it was on the list at one time. Whatever the case, it’s a film that has been highly praised among the ArtsandFaith.com, even though I’m not so fond of it. I suspect that “Dogville” rates higher in the A&F crowd because it deals more explicitly with a Deity figure, a messianic figure named Grace, and a more obviously parable-like story. I’m just speculating. You should get involved at A&F sometime, Joe, since you’re passionate about this. You’d probably end up playing a part in the voting when it comes time to revise the list. It’d be good to have you involved.
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