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By
Jeff Nelson
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Film Review: The Road to Edmond
Whenever a novel, movie, or TV show sets out to tell a story related to faith, these works tend to fall into one of two categories.
The first category is the one that is very up front with the audience about what it wants to do. This tends to include explicit dialogue where two or more characters have a bald theological discussion, usually with a lot of insider language involved. Sometimes the story justifies this by one of the people happening to have a seminary background (think Mack in The Shack), or they just luck into it because the writers just want them to say certain things (pretty much all the main characters in Left Behind). Whatever faith-related point the people in charge want to make is usually at the expense of the story, and the result is an inferior and pedantic piece of art.
The second category allows the story to lead the way, where the spiritual side of things becomes more embodied in what the characters do. The recent Martin Scorsese film Silence, as well as the c…
The first category is the one that is very up front with the audience about what it wants to do. This tends to include explicit dialogue where two or more characters have a bald theological discussion, usually with a lot of insider language involved. Sometimes the story justifies this by one of the people happening to have a seminary background (think Mack in The Shack), or they just luck into it because the writers just want them to say certain things (pretty much all the main characters in Left Behind). Whatever faith-related point the people in charge want to make is usually at the expense of the story, and the result is an inferior and pedantic piece of art.
The second category allows the story to lead the way, where the spiritual side of things becomes more embodied in what the characters do. The recent Martin Scorsese film Silence, as well as the c…
