The Theology of Cinema: Salvation
“On the one hand, salvation is directed toward saving someone else. On the other hand, it is a gift, not an achievement.”
“On the one hand, salvation is directed toward saving someone else. On the other hand, it is a gift, not an achievement.”
As many of you may know, I have a background in the academic study of theology, a B.A. in religious studies from the University of Virginia and a Masters of Divinity degree from Yale. So it is only natural I bring that perspective to how I view and understand movies and screenwriting.
Let me be clear, when I say theological, I mean it — in this context — in a secular way. How does that make sense?
The word theology is a combination of two Greek words: “theos” which means God and “logos” which means word. So theology is words about God. What if for this series we think of God as a metaphor for an explanation for the big questions of life? Thus, theology as words about the meaning of life. Broadly speaking that is one dynamic movies hit on consistently, characters forced to confront their values, behaviors, and world views related to who they are and how they should act.
In this respect, movies and theology wade in very much the same thematic waters. As Andrew Stanton noted about Lawrence of Arabia in this TED Talk, how the central theme of that story is the question asked of the Protagonist “who are you,” that issue exists at the core of perhaps every movie, an existential exploration of a character or characters’ self-identity. So, too, with theology.
Also, movies tend to be about characters at critical junctures in their lives, facing a journey from the Old World into a New World where through a series of challenges and lessons they undergo a significant metamorphosis. Sounds an awful lot like a conversion experience to me.
Thus, it is only natural there will be a lot of crossover of theological themes in movies. But while a theological theme in a movie may have a religious or spiritual connotation, I am more interested in exploring such themes metaphorically to find the widest value possible for screenwriters at large.
By working with this non-religious take on the concept, we can avail ourselves of numerous powerful theological themes in screenwriting regardless of whether our stories are secular or non-secular.
Today: Salvation.
Depending upon which sidewalk proselytizers you happen by, salvation can mean many things. Receiving enlightenment. Deliverance from Evil. Or accepting a religious figure as your personal savior.
No matter what the specific iteration, they all share one common idea: For an individual to achieve salvation, they have to get right with God.
Yet there are two seemingly contradictory dynamics at work with the concept of salvation.
The root of the word is the Latin salvare which literally means “to save.” So in this sense, it is not about being saved, but saving someone or something else.
Then there is this per the words of one of my favorite theologians Frederick Buechner who talks about salvation in his book “Wishful Thinking”:
“You give up your old self-seeking self for somebody you love and thereby become yourself at last… You do not love God so that, tit for tat, he will then save you. To love God is to be saved. To love anybody is a significant step along the way. You do not love God and live for him so you will go to Heaven. Whichever side of the grace you happen to be talking about, to love God and live for him is Heaven. It is a gift, not an achievement.”
Thus on the one hand, salvation is directed toward saving someone else. On the other hand, it is a gift, not an achievement.
Strip away the God-talk and what do we have in terms of screenwriting?
Regarding the first meaning of the word, there have been countless movies in which one character takes on saving someone or something else, literally or symbolically, such as The Lord of the Rings, True Grit, Star Wars, Seven Samurai, The Matrix, Casablanca, Aliens, Léon: The Professional, WALL-E, Mr. Smith Goes to Washington, The Princess Bride, The Exorcist, and Saving Private Ryan.
“That’s my mission.” To save someone or something. A specific goal. Externalized. Not you, but them. Take action. Save them.
Then there is another form of salvation. Personal salvation. Where the journey is about the hero’s psychological metamorphosis. Movies like The Shawshank Redemption, Pulp Fiction, Schindler’s List, Inception, Casablanca, It’s A Wonderful Life, American History X, American Beauty, Rain Man, and A Beautiful Mind.
Discovering the core of who they are, their God Within, self-understanding so they are transformed from an old way of being into a new way.
We want to believe we would help others if given the chance.
We want to believe we can get our act together.
Both of these desires speak to salvation. We save. We are saved.
Use the theme salvation to imbue your stories with emotional power.
What do you think? Salvation as a lens through which to look at and analyze the stories we write. See you in comments to discuss.
For more articles in the Theology of Cinema series, go here.