With the release of “Wake Up Dead Man” last year, the film posed a challenge for audiences in determining how it counts among religion-centered films, given its open-minded exploration of Catholicism. Movies like this beg the question: what makes a film Catholic? Can a film like “Wake Up Dead Man” be considered a Catholic film or not?
The spectrum of religious themes in film is more versatile than some expect, with many different kinds of movies containing these elements. In “Mean Streets,” a mobster named Charlie tries to live as a good Catholic while surrounded by corruption. He repeatedly attempts to save his friend Johnny from that life of crime, what would have been an act of salvation. Eventually, Charlie realizes Johnny will not change and cuts his losses, leaving Johnny to face the consequences for his actions.
In a similar struggle in “The Conversation,” Harry Caul is worried about the morality of his work as a surveillance expert. Though he tries to uphold his faith by going to confession, a recording that may lead to murder fills him with guilt and pushes him to seek redemption by trying to recover the tapes from those who want them.
Both protagonists are struck by Catholic guilt in their desires to uphold moral duty and accountability for everyone. They live in environments where present authority is out of their league, with their strives for justice and redemption being unfeasible. To that point, Edward Hahnenberg, Ph.D and professor of religious studies at John Carroll, explained, “One kind of ‘Catholic’ film deals explicitly with Catholic themes, events, or characters–something like “Of Gods and Men” or Martin Scorsese’s “Silence.”
The other two films could be seen as inverted versions of each other. In “It’s a Wonderful Life,” George Bailey has always devoted his life to helping others and rarely does things for himself. When his company’s money goes missing, however, he wonders if he should have pursued wealth instead of living so selflessly. His guardian angel shows him a world where he never existed, revealing a heartless town.
When George returns to reality and now recognizes the value of his life, his neighbors donate more than enough to cover the loss, reflecting the generosity he showed them that has made him, as his brother says, “the richest man in town.” The story gives George Christ-like qualities through his consistent care for others while still emphasizing his humanity and moments of doubt, including his occasional feeling that he should be rewarded for his sacrifices. The Catholic film qualifications here are care for the vulnerable, strong community, the presence of angels, Christ-like compassion and the Christmas setting.
This aligns with Hahnenberg saying, “Another kind of ‘Catholic’ film reflects what I call a ‘Catholic imagination.’ These are the really interesting movies, because even totally secular stories can become avenues for glimpsing the deeper spiritual currents running underneath our lives. These kinds of ‘Catholic’ films range from classics like ‘Babette’s Feast’ and ‘Cool Hand Luke’ to ‘Groundhog Day’ and ‘Superman.'”
After he made “Mean Streets,” Martin Scorsese released “The Last Temptation of Christ.” Based on a novel instead of the Gospels, the film’s version of Jesus struggles to understand his mission in what is often regarded as the most humanizing portrayal of the figure.
Though he resists temptations and gathers followers, he doubts whether sacrificing himself will truly bring salvation. At his crucifixion, Satan tricks him into leaving the cross and living a normal life of family. Realizing this would prevent the change he hoped to inspire, Jesus asks God for another chance. God takes him back to the moment of his crucifixion, where Jesus happily yells, “It is accomplished.”
The movie presents Jesus as deeply human, wrestling with uncertainty before accepting his role and sometimes taking a more confrontational approach to promoting love, like asserting that his group should be welcomed at a wedding. His struggle reflects someone discerning their beliefs and highlights themes of confronting hypocrisy, helping the poor and choosing love and sacrifice over violence.
Of these four films, all serve as intellectually stimulating reflections for Catholics on philosophy while promoting the virtues of their faith. While recent movies such as “Wake Up Dead Man” and “Conclave” contain critiques of Catholicism, they still admire aspects of the faith, as seen when their heroes embody its values. These films do not have to be seen strictly as Catholic films, but they can certainly be read that way.