LDS Film Project Concluded

We made it. About three months. Ten films. And enough Mormon culture to make me rip out my hair. Even still, after watching each of these films I am nowhere near exploring all of the avenues for Mormon cinema. There is so much out there to explore. I limited my study to ten films that premiered in theatres. There are countless straight to DVD films that are excellent sociological studies for the LDS church. There are web series, blogs, and not to mention the hundreds of church produced films in circulation right now. However, even with the vast amount of material that I have yet to explore there are many things that I have discovered about Mormon identity in film and how it relates to transcendental moments. There are a few trends that I have noticed while watching these films.

First, LDS film rarely has strong female leads. The obvious exception to this is Charly, however, even within the film she is seen as an anomaly for her strength. In every other film if there is a female lead she is either a marriage hungry single or a baby hungry mother (Hollist).

There are four films that could fit in the category of historical fiction (Saints and Soldiers, The Book of Mormon Movie, The Work and The Glory, and The Other Side of Heaven). All of these films are also in the top five grossing LDS films. Of these films two deal with the creation of the church (either in the actual historical events, The Work and The Glory, or in subjects directly related to the church, The Book of Mormon Movie). This highlights the importance of history, especially church history, to the LDS people.

Every film deals with Terryl Given's at least one of the three dichotomies that I stated at the beginning of the project: searching/certainty, the disintegration of sacred distance, and isolation/integration (Givens 190-191). This clearly states that these are the issues that are most important to LDS identity. They are what make the LDS people work like they do, act like they do, live like they do. They are constantly in a state of paradox as they battle these dichotomies.

Lastly, each of these films has at least one moment trying to express a spiritual experience of some sort. These moments often are an attempt to visualize what The Spirit feels like when it testifies of Truth. Each film takes this attempt on in different ways. Some have a simple fade to black and opt out of explicitly showing the moment. Others raise the music in to create a feeling of abundance. There are some that show lots of tears. While other pull back and let viewers place themselves in the role through minimalism and scarcity. There are obviously some films that work better than others in this pursuit. However the importance that these moments have in each film I have viewed directly relates to the importance of these moments in the lives of every Latter Day Saint. These moments are at the root of transcendence in the church. They are what each member wants more of in his or her life. It is the desire and in many ways quest of the Mormon people.

I started out this project by defining cinematic transcendence. I said, "Cinematic transcendence includes, but it not limited to, films that assist individuals discover their relationship with God, their communities, and themselves." Each of these films reveals another layer of Mormon identity or at least the representation of Mormon identity in film. Through this project I have come to understand a bit more about my own culture, my relationship, and myself with Deity. To me that makes these films transcendent.

Works Cited

The Other Side of Heaven

We've reached the end. As I was watching this film I realized that this project is coming to an end. Jamie can attest that in many ways it has consumed me this semester. I've either had to watch a film or write about a film every day of this semester. The project was honestly far too big for the class. Tomorrow I present on my findings. I'm honestly a little intimidated. There is far too much to talk about, but I guess I will get into that when I write a wrap up post tomorrow.

The Other Side of Heaven is the film that every LDS filmmaker wanted to create. That's a big statement, but after seeing all of the failed attempts and all of the successes in the LDS film movement I am certain of it. First, and foremost the film is clearly a Mormon film. There are many references to the church, both implicit (a photo of David O. McKay in the church house) and explicit (the drunk Tongan proclaiming, "I am a Mormon!").  This is what many LDS films wanted to accomplish. They wanted every audience member to realize that the characters in this film were in fact Mormon.

Second, the film taught doctrines of the church, without being preachy or overt. It seemed that al Groberg did was teach doctrine. He taught about faith, repentance, The Word of Wisdom, and chastity. Unlike The Best Two Years or any other of the missionary films that I viewed this semester the doctrines are not strictly LDS or at least not blatantly so. This desire existed in every LDS film I viewed this semester.

Lastly, the film revealed truths about LDS identity in an honest way that brought its viewers to transcend with the characters. The film is a missionary pic. This genre is unique to the LDS film movement because "missions... are a modern phenomenon with which all Church members are familiar" (Astle, 38). This film did not gloss over any of the hardships of a mission. In fact it is clearly portraying one of the most difficult missions ever served. The story presents all of the "culture shock, foreign languages, homesickness, departures, homecomings, and letters—all components of accented cinema" (Astle, 38) in an authentic manner. With these trials we see a change in Groberg. We see him literally take on the culture of those he served. When he comes home we don't know whether or not to be happy that the love of his life waited for him or to cry because the other love in his life (Tonga and its people) are no longer a part of his life.

This is a feeling that is typical of Mormon missions, something that is not explicitly brought up in any LDS to this point. It is the point at which missionaries understand what their mission really was for two years. It is the most important transcending moment for each Elder or Sister. It is the realization of the common identity of man.


Which has been your favorite LDS film I've talked about during this project? Do you feel I am right in saying that this film is "the film that every LDS filmmaker wanted to create"?


Film Information
Works Cited

The Work and The Glory

I wrote a while back about creation myths and the impact that they have on a culture, specifically LDS culture. If I remember right the context was that of missionary work and the impact of both the Book of Mormon and the Joseph Smith story on modern day identity. What is interesting about The Work and the Glory is the modern interpretation of this story. The story centers on the Steed family, a fictitious family who move next door to Martin Harris around the time that the LDS church is founded. They interact with real people: Martin Harris, Joseph Smith, the Whitmer family, and other prominent people of the era. Gerald Lund, the author of the original works, in many ways parallels the lives of the Steed family after the lives of any family that is learning about the church today. There are children that don't agree, father is apathetic, some readily accept. The family gets a little bit torn up by the experience. However, it all turns out for the best in the end. This parallelism is important in the analysis of the piece because it shed light on the relationship with the creation story of the LDS church and its people.

To highlight "the significance of sacred narratives, often called creation myths," one must look "for the expression and maintenance of cultural identity" (Olsen 90) within these texts and the interpretation of these texts. By learning how the Joseph Smith story helps modern Latter-Day Saints express and maintain their identity we can peel back another layer of identity. It seems necessary to share some highlights from the story in order to best share how the both the various accounts of the story and how The Work and The Glory express and maintain LDS identity.

The Joseph Smith story begins with him as a young boy, about 14 or 15 years old. The religious world around him in in upheaval and he is confused. His goal was, in his own words, to discover "Who of all these parties are right; or, are they all wrong together? If any one of them be right, which is it, and how shall I know it" (Joseph Smith-History 1:10)? Upon praying in a grove near his house some two years after he first began asking himself this question he saw God the Father and Jesus Christ appear to him. They taught him that none of the current sects were true and that he was going to be instrumental in organizing Christ's church once again on the earth (See JS-History in The Pearl of Great Price for more detailed information).

This text is vitally important to the plot of The Work and the Glory and also the lives of Latter Day Saints around the world. "The symbolic structure of the Joseph Smith story exhibits the quality of wholeness" (Olsen 91). This wholeness creates wholeness in LDS identity. This wholeness creates wholeness in LDS spirituality. Every function of the LDS people as a whole is connected to this one event. The Work and the Glory strives to connect to this text on a historically accurate way while still helping its audience both connect spiritually with the film and relate the experiences of the Steed family with their own lives.

Film Information
Works Cited

God's Army

Here we are. We're at the place where it all began. In 2000 Richard Dutcher released God's Army. I remember the first time that I saw it a few years after its release. It was magical. I was a developing adolescent who was trying to find my place in the world. Here was a film that attempted to represent Mormon missionary culture in an unapologetic way.  The implication behind this boldness inspired many filmmakers to throw caution into the wind to build the LDS cinema movement.

In terms of his goals with his film Dutcher wanted to "[honor] his own people with a film that dignifies their life and beliefs" (Pace, 183) and to show Mormon missionaries as "real folks with blood in their veins" (186). To put it another way he wanted to show that Mormons are real people with faults and desires while still presenting them in a way that demonstrates his admiration for his own culture and beliefs.

How then did Dutcher measure up to his goal? Did he succeed in the presenting an honest representation of Mormon culture? The missionaries that he portrays are nothing like those in The Best Two Years or like the recent returned missionary in The R.M. They "are not the molded-in-plastic icons tacked onto in-house seminary and institute films," but "fully-realized characters" (184). These characters present an alternative view from the previous representations of missionaries in church sponsored films like Called to Serve. "It approached the marrow of Mormon life, mixing the messiness with the sacred, unafraid to discomfit some viewers. In this story, the missionaries, usually lionized in Church media, were scaled down to human proportions and shown to be just as real as the people whom they teach" (Robbins, 171).

This realistic representation of Mormon missionaries helps viewers to realize something about the reality of Mormon life. It is not meant to be perfect. Members are supposed to "[explore] issues of regret, doubt, racism, abuse, and death, punctuated with practical jokes, missionary banter, slamming doors, fights, miracles, and revelation" (171). This honest representation allows viewers to see redemption, something that, while attempted in other LDS films, is rarely seen to the degree that it is in this film.

Without this openness it is impossible to achieve an accurate perception of Mormon identity. If all we see is the good, the perfect then we cannot understand the depth of sorrow. Members of the church are asked to "know good from evil" (2nd Nephi 2:26). If we are to gain "life eternal" by "[knowing] God... and Jesus Christ" (John) then we must know that "[Christ] will take upon him the pains and the sicknesses of his people." In order to know this we must know the pain and admit that it exists. Only by accepting one's faults can he or she achieve true redemption. God's Army seeks to open its audience's eyes to this reality.

Film Information
Works Cited

The Book of Mormon Movie

When my professor found out that The Book of Mormon Movie not only made the top ten grossing LDS films, but also ranked fourth in the list she was shocked. After a bit of a debate about the credibility of my sources she was convinced and proclaimed that I have suffered more than any other student she has known. To be completely honest I agree with her. Prior to my recent viewing of this film there have only been two films that I've found so obscene that I've turned off during the viewing. The Home Teachers and The Book of Mormon Movie. I've been dreading this film since I started the project. I wish that I could say that this viewing changed my perception of the film, but it didn't.

I did, however, find something extremely interesting about this viewing. I found myself thinking about The Book of Mormon itself. More than any other unique factor of Mormon identity The Book of Mormon sets it apart from any other identity in the world. It is "the keystone to our religion" (Ezra Taft Benson, "The Keystone of Our Religion"). Everything else hinges upon its validity. Therefore, it is reasonable to say that every part of Mormon identity hinges upon The Book of Mormon. Our religion. Our faith. Our spirituality. Our identity.

The task that Gary Rogers took on by wanting to direct this film seems a lot bigger when we put it in that light. No wonder it seems he failed.

Thinking about the film this way I tried to push all of the acting, writing, design, and Lehi's strange pink shirt out of my mind in order to figure out its relationship to Mormon identity. The Book of Mormon is the hinge to our faith. Faith in The Book of Mormon demands "the unquestioned loyalty to the official version... One of the most important roles of this text in Mormonism may be the manner in which it articulates Mormonism's self-conscious mission to mankind" (Olsen 90). The film is an interpretation of that articulation. It attempts mediate that text to a new and innovative way.

In a way it reminds me of a story from LDS church history. Oliver Cowdery was a transcriber for Joseph Smith during the translation of The Book of Mormon. He desired to do more for God. He wanted the ability to translate. After much prayer and pleading he was given the gift. However, Cowdery didn't quite get it. He didn't understand what it took. He failed (see Doctrine and Covenants 8, and 9). Rogers took upon himself a role to translate The Book of Mormon into film. He was inexperienced. He didn't quite get it. He took an impossible feat upon himself. However, in the end it could be said "The Book of Mormon Movie is true, as far as it is translated correctly."


Film Information
Works Cited

Saints and Soldiers (2003)

Saints and Soldiers contains an interesting dichotomy in LDS film. While nearly every scholar states that this is an LDS film there are no explicit references to any character’s faith. There are however, implicit references to aspects of the Mormon faith in Deacon’s character. He “doesn’t smoke, doesn’t drink, doesn’t even like coffee”. He carries an unidentified book of scripture around on him at all times. He prays while on watch. He went to Germany on a mission for his church for two years. These are all clues that indicate that he is in fact a member of the LDS church. Therefore even without explicitly stating that Deacon is a member of the church one can imply membership because of these contextual clues. This analysis brings to thought a question about the uniqueness of the Mormon identity. Are there not other churches or peoples that have nearly the same standards as the church? On my mission I taught a family that on many occasions were asked if they were Mormon. They didn't smoke. They didn't drink (much). They went to church every week. They prayed as a family. They read the Bible together, individually and as a family. These traits are not unique of the LDS faith.

In many, if not all of the previous LDS films that I have viewed have, "[alienated] or [excluded] the non- Mormons" by "largely polarized [audiences] by recognizably Mormon subjects, themes, or treatments" (Givens, 202). Saints and Soldiers uses the cross overs between Mormon culture and the rest of Christianity to both reach a wider audience and create empathy between these two cultures. "Matt Whitaker and Geoffrey Panos (the screenwriters) choose instead to rely on a text coded in such a way that its meanings can be read in both particular and universal ways (202). By doing so they were able to bridge the gap between cultures.

           
Does this bridge, however, destroy the inherent nature of LDS cinema? If any culture can easily accept the themes and devices of this film without any prior knowledge of LDS culture do the filmmaker give up the film's Mormon identity? How is it any different than The Land Before Time (Don Bluth) or The Swan Princess (Richard Rich)? (Neither of which are considered LDS films). The LDS genre is a deeply complex genre. "There can be no linear scale of “Mormonness” for a film" (Astle, 28). Each film must be evaluated on an individual basis. "A film that initially appears to have nothing to do with the Church might, in fact, be quite thoroughly infused with Mormonism, while one that is apparently full of Mormon content might be rather devoid of it" (29). 

There is no scale that one can look at and say, "There are 34 direct references to the church in this film, it must be an LDS film" or "Well, they mention the Book of Mormon, but not the Joseph Smith so it doesn't quite make the cut". The definition, however, lies in the inherent identity of the film. While Saints and Soldiers makes no explicit references to LDS faith or culture then "Mormonness" of the film is high because the identity of Deacon is so clearly LDS that there can be no question as to his faith. He must be a member of the church because he is what members desire to be like. He is not pigeonholed. He is not stereotyped or mocked. He is true. He is real. He bridges cultures like each individual must do in order to develop empathy and charity. For "[Charity] is accepting people as they truly are. It is looking beyond physical appearances to attributes that will not dim through time. It is resisting the impulse to categorize others" (Monson, Charity Never Faileth, October 2010 General conference).

Film Information
Works Cited

The Single's Ward (2002)

I don't even know where to begin? When I was growing up I remember that for a while every party, every time my friends would get together we would watch The Single's Ward. Then one day it clicked. This movie is a monstrosity. It is pure product placement. Watching it today made me seriously reconsider even doing this whole project (although later this week I'm going to be viewing The Book of Mormon Movie... now that makes me reconsider things). "Aristotle supposed that entertainment enjoys a natural advantage by providing us with certain sensual pleasures and thereby more readily chasing away our cares" (Anderson 232). This film is purposed to entertain about at the expense of the church. In other words, This Single's Ward, "primarily appeals to the body; it is more likely to be pleasing and diverting because it satisfies bodily cravings for rest, relaxation, and physical satisfaction" (232). However, this project is not about how good the movies are or how much they make me want to puke. It's about how these movies represent Mormon identity.

           
So how does this film stack up? You may remember a few weeks ago I wrote about the representation of women in the movie The RM (also made by Halestorm). Cammie Giles is a twenty something year old Activities director in the church. While she, unlike the women in The RM, is a very spiritual person, she has one major flaw. She is the definition of self-righteous. When she discovers that her boyfriend, Jonathan, tells slightly off color jokes about Mormons (nothing worse that what I've heard on BYU campus) she storms out of the room in a hysterical mess. It seems for a while that her only intentions with the unknown Jonathan in the foyer are to get him to come inside. In fact, Jonathan says himself that she'd "be a good missionary" in reference to her pushy attitude (Hollist, 142). One might even interpret this film by saying that the only way that women can be spiritual in the church is if they are self righteous or holier-than-thou.

What interests me more than the view of women in the church, however, is the perspective that this film contains about inactive members of the church. Jonathan is highly knowledgeable about the church. He quotes scripture and conference talks, references Book of Mormon stories, and "knows the tactics" used to reactivate less active members (he even still has his white shirt and tie in the closet). In fact, aside from occasional alcohol use and some off colored jokes in a comedy routine he is a stand up guy. His ex-wife is a recent convert that he himself got to join the church. Upon buying a six-pack of beer and a package of cigarettes she says, "I'm done. I don't even know if the church is true anymore".  No other explanation is given. From these two perspectives we can discern part of the attitudes that the filmmakers have concerning inactive members of the church. One, they lack a belief in the church. Two, inactives are opposed to the culture of the church. The first of these perspectives blames the individual for their inactivity. The second the community in which they live.

           
I've found through this project that most LDS films pigeonhole members, non-members and inactive members. They represent members as self-righteous, nerdy, or just plain weird. Non-members are seen as wild and free, but desperately wanting to connect with the world. Inactive members are hurt or confused about Mormon culture. These films create stereotypes of deeply complex identities that make up the Mormon Church.

Film Information
Works Cited

The Best Two Years

There was a transfer on my mission where I served with a companion who didn't know why he was on a mission. He didn't enjoy working particularly. He wouldn't stop listening to his favorite music from back home. He didn't get what a mission was. Did this make him a bad missionary? Of course not. He had one trait that redeemed him of all of his inadequacies. He cared about people. That one trait, in and of itself made him successful in my eyes. I saw how important it was to gain relationships of trust where members, missionaries, and everyone else could trust that this Elder would treat them right. This impacted my perception of what it meant to be a missionary.  I created a loose theory of missionary work. I called it "getting it". Missionaries who "got it" were successful. Those who did not would fail no matter what they did. The question in my mind was, "What does it mean to get it". By the end of my mission I understood that getting it was different for each missionary. For some it was learning to work hard, day in and day out. For some it was learning that submission to mission rules brought peace and comfort in their lives. Yet for others it was learning that each individual is more than just a statistic to be analyzed by the office elders.

           
The Best Two Years is a film about "getting it". Elder Rogers may not have been the hardest worker, but he understood the importance of people.  Elder VanPelt was an aspiring Elder who didn't get anything. Elder Johnson understood the value of hard work, but he didn't understand the importance of supporting his peers. Finally Elder Calhoon got a lot of it. He understood how and why to work; he understood the importance of people. He didn't, however, understand the importance of his role in the mission field. This film is about understanding both the strengths and weaknesses that we each have. It's about understanding the roles that we play. It's about understanding our identity.

This is at the heart of my definition of cinematic transcendence. Without knowledge of who we are and why we are here there can be no real success because there can be no progression.

           
This identity is also central to Mormon theology. Even from the beginning of the world we believe that it is important to understand who we are and what our relationship to Deity is. Lucifer was cast out of the heavens because he didn't understand his relationship with God. He sought to rise about God and commanded Him saying, "surely I will do it; wherefore give me thine honor." This account illustrates "the significance of sacred narratives, often called creation myths, for the expression and maintenance of cultural identity" (Olsen, 90). When the Elders in The Best Two Years understood who they were and what their weaknesses and strengths were they became infinitely more effective and productive. They became a force for good. Mormon identity is rooted in self-identity. Scott Anderson and nearly every member of the church know this. It is central to everything that Mormons do.

Film Information
Works Cited

The RM (2003)

I remember when this movie came out. Somehow my brother got tickets to the Arizona premier. I saw this one on the big screen (a rare thing for an Arizona boy). The whole family went. I've seen it a few times since then, but it's been a while. It's always amazed me how revisiting a text can change your perceptions of that text dramatically. I'm taking a Gender and Sociology class this semester and therefore I've been thinking a lot about media's representations of gender. However, I'm just realizing that LDS films have historically presented women in two ways. First, as super attractive singles who are hyperactive in the church. They go to the dances, devotionals, institute, homemaking meeting, and just about everything that a college student could go to. Secondly, women are presented as frumpy relief society moms. These women make huge breakfasts, bare children, bake, clean, prepare centerpieces to be placed on doilies during Relief Society. However, in both versions of women there is one thing in common. Women are not spiritual. They don't talk doctrine, like the men. They don't bear testimony (Hollist ,142). What does this say about role women play in the church? Are they too supposed to be hyperactive and go to every activity, every service project while canning beets and making jams? The RM is perhaps the most typical of these cinematic representations.

           
This film is about Jared Phelps. He is a recent returned missionary. He loses his job, his girlfriend, his car, and his chance at education. He's stuck with an engagement ring that blew his college fund. Throughout the film, however, he keeps his faith. He interacts primarily with two women in the film: his mother and Kelly Powers, his would-be-girlfriend. These two women are stereotyped into both categories of women.

Mother

           
Emma Phelps is a super mom. She has kids ranging from 21 to newborn. She cooks breakfast every morning, only to see it passed by as her kids run off to school. She singlehandedly got each of her boy's Eagle Scout awards. She creates intricate centerpieces for her relief society lessons. She is so set on getting a year's supply of food storage she creates furniture to hide the extra. However, the one time she is seen with the scriptures open she is looking for names for her newborn baby. When faced with a challenge from her son she denies his trouble. She ignores it and worries about how the family's standing in the community will fall (142).

Kelly Powers

           
Kelly is the daughter of a Seventy. She is perfect in every way. She is tall, thin, and a smile that melts Jared Phelps's heart. She is fiercely loyal. Even through all of Jared's trials she sticks with him. She also aggressively seeks him out. When he is too shy to ask for her number she leaves it at his work. She is coy and flirtingly teases Jared every chance she gets. She is everything that Jared ever wanted in a woman. However, just like Emma there is no reference to her activity in church. She is never seen reading the scriptures. She never references her prayers (143).

            

This film carries a dangerous representation of women in the church. It states that while they are required to preform all homemaking activities (canning, cooking, cleaning, etc.)  they are also supposed to keep their spirituality quiet or at least to a minimum. It states that LDS men do not want spiritual women.  They want women who will be stay at home. This is not only true in The RM, but in many other LDS films. 

Film Information
Works Cites

Brigham City Revisited

Ever since God's Army, Richard Dutcher has always been one of my favorite directors. He literally started the movement that I'm spending the entirety of this project researching. As I stated in a previous blog post on this topic, Brigham deals primarily with one topic: the dichotomy between wisdom and innocence. The ward Sunday school teacher asks her class the question, "Do we have to loose our innocence to gain wisdom?" Discovering the boundary between remaining innocent and gaining wisdom has, also plagued Richard Dutcher, and many other LDS artists. Just as many artists have done in the past he seeks to discover the answer to his question by exploring through his works. However, most of the time these realizations occur not in assertive moments, but rather through the text of piece. Alan Heimert stated,

To discover the meaning of any utterance demands what is in substance a continuing act of literary interpretation, for the language with which an idea is presented, and the imaginative universe by which it is surrounded, often tell us more of an author's meaning and intention than his declarative propositions (7, emphasis added).

What then is the text with which to interpret Dutcher's work. We must look at the characters and who they are in order to gain a better idea of what Dutcher's perspective of the church and faith are. Every character in the film has to ask themselves the same question. It is the fight between being "a part of the world", but not "of the world". How these characters react to this question helps us understand Dutcher's perception of the LDS faith, nonmembers of the church, pornography, and many other topics.

            
I am going to look at three characters and create a sketch of their identities based off of their experiences in the film. First, I'll begin with Meredith, the FBI investigator who is not a member of the church and not from the community. Second, I'll focus on Terry, Brigham's deputy and closet serial killer. Last the town's sheriff and bishop. By focusing on the identities of an outsider, a deceiver, and a town leader I will be able to see a sketch of Dutcher's perception of the church.

            
Meredith had never set foot in Brigham before the film started. She never wanted to either. However, upon entering the community she becomes an outside observer. She sees all of the pre-discovery identities, is there for the reveal, and continues to linger in the community after their tragedy. Her perception is one of an unbiased visitor. Her role is that of a revealer, one who through which we can see unbiased perceptions of the community. Perhaps more than any other moment in the film we can see this in action when Meredith is having a conversation with the sheriff at night. "You're just naive," the sheriff states unapologetically when Meredith asks why he believes the LDS beliefs. She's read the books, been to church, but admits to not praying about any of it. In other words, she's done her homework. She's taken the time to study the beliefs. That's what kind of a person Meredith is. Thus fitting the role of the outside observer perfectly.

What then does this say about the LDS perception of nonmembers of the church? In my experience there are many nonmembers who, while intensely interested in the church have no desire to discover if it is true or not. This is much like Steven Olsen's opinion; he states "The World, however, is... informed of the activities of the Kingdom, but only in an oblique manner" (94). I believe that many members of the church feel this way. They do not want to "bother", "upset", or "pester" their friends and therefore assume that all nonmember reactions to the church will result in either apathy or aggression.

            
Terry provides a unique identity to the film. Throughout most of the film he is perceived to be a model member of the church. However, he carries a secret. While his secret is much bigger, Terry is not the only member to hide their sins. The former sheriff smokes occasionally, the town photographer is a pornography addict; everyone has a secret. Many members of the church also feel this way. They want to hide the dark parts of their identities in order to present this ideal of perfection. Terry's defining moment carries a unique parallel to many people who chose to break free of the facade they present. He confesses to his bishop, although the circumstances are different. The need to keep sins hidden has existed for centuries. Cain kills Abel and tries to hide his sin from God. Ananias and Sapphiria hold back a part of their money and try to hide it from Peter. It is a natural instinct to cover up ones sins. Terry is no different than any other member of the church, except for the whole fact that he's a serial killer.

            

The sheriff is both the spiritual and temporal leader of his community. His whole mission in life is to protect people from both temporal and spiritual danger. He exclaims at one point in the film, "The world just won't let us be." This desire to keep everyone safe puts him in a precarious situation. He must find the killer before he kills again. He feels there is only one way. Search everyone's lives. This teaches us a lot about his identity. He is so worried about keeping everyone safe that he is willing to take the agency of those around him away in order to protect them. This sounds an awful lot like Lucifer's goal: to take the agency away in order to save everyone. This illegal search leads to many broken hearts, including that of a citizen that I believe will never come back to church again. How does that fit in to his goal of protecting people? After finding the murderer and watching him commit suicide realizes that he was the reason that there were so many deaths in the community. He is brought to a complete realization of his guilt. He realizes his fault: he trusts people too much. This realization brings him to make an important decision. He choses to not partake of the sacrament, a choice which was intended to show viewers the pain that he felt.


          
He was guilty, but not for the murders. His guilt lies in the breaking of the trust of every member of his community, from hurting people, from taking agency away. When the congregation refuses to partake of the sacrament the bishop gives in and partakes. This moment feels cheap to me. It feels he is giving in to the ritual of the church. He is supposed to partake so he does. The film would have been much more powerful if no one partook. We are all guilty. We all fall short. It is an extremely healthy thing to realize that. We would have seen fuller characters, more rounded identities, and a more complete story.

Film Information
Works Cited

Charly

I caught myself laughing through parts of this movie because of how accurate Teryll Givens was in describing the three paradoxes of LDS cinema: "searching and certainty" (190), "disintegration of sacred distance" (191), and "isolation and integration" (192). This film follows the relationship of Sam and Charly. Sam is a stereotypical Peter Priesthood type. His day planner runs his life to the point that he has alarms set for when he needs to row his fishing boat. In the first five minutes of the movie it is clear that Sam is a member due to his BYU baseball cap and quick references to Temple Square. Charly on the other hand lives by the motto "Life is for fun." She's loud, witty, and spontaneous. Most importantly, for the purposes of the story, she is not a member of the church. 

In perhaps Sam's most defining moment Charly and Sam talk about her experiences in taking the missionary lessons. She states, "I don't believe any of it." Almost baffled Sam states "You just have to pray." Then, like the good return missionary, he kneels down and says, "Let's pray now, it's pretty secluded." It is clear that Charly is leading him along as she kneels. However, this, more than anything is a springboard for the rest of the discussions on faith and doubt. After Charly's baptism Sam and Charly are looking at the Christos in the Salt Lake Temple visitor's center. Charly asks, "Do you really believe it?" Sam's response, "No. I know it."

It however, becomes unclear if he really knows. When Sam realizes that Charly is not a virgin then he flips out and pushes her away, almost losing her. When they find out that she is terminally ill he breaks down asking for "one lousy miracle". This paradox is a dominant theme in this film. What does it mean to have faith? What is the place of doubt in life? As given states, "It is no wonder that Mormon culture expresses itself in inconsistent bursts of the pat and the provocative, the clichéd and the astonished, the complacent and the yearning" (190).

Part of Charly's doubt at the beginning of the film is if God really answers prayers. She does not believe that God is personal and intimate with his children (it may be more accurate to say she does not believe in God). However, after accepting the church's beliefs she has no problem accepting the interpersonal connection that members of the church believe they can have with God. In fact she states, "I've been discussing the whole thing with God. We're very close now, He and I." However, during Charly's blessing near the end of the film it is made clear that Sam is blessing Charly, not God. Sam is struggling with the feeling that his wife is going to die. He will not accept it. He believes his faith will save her. He wants to force his will upon God instead of accepting that they are separate.

If there is any one of the three paradoxes Given's describes in his paper that is less dominate in this film it is the paradox of isolation and integration. Sam has no problem dating a nonmember of the church (something that many member of the church frown upon). The only struggle that is present with Charly is he ex-boyfriend's desire to still live with her after her baptism, but she may want him to leave not only for her newfound faith, but because she has broken up with him.

Overall, this film gives a solid interpretation of LDS culture. Sam's character can be extreme at time, but once Charly rounds him out he becomes a faithful, balanced member of the church. One who has his doubts, but is able to work through them. Charly becomes a strong member who, even in the face of her own death, relies on God and reaches out and touches those around her. 

Film Information

Works Cited

LDS Film Project

I remember growing up during what came to be known as the "Golden Age" of LDS cinema. During this time LDS filmmakers made dozens of films about LDS people/subjects. It was a breath of fresh air to members of the church, who prior to this time had not been strongly represented in the film world. These films covered a wide variety of subjects/genres: romantic comedies, war stories, dramas, and a unique subgenre to LDS film, the missionary film.

            

These films raise many questions, but the most pressing it seems is, "What does it mean to be a Mormon?" According to Teryll Givens these films raise their dichotomies that are present in LDS culture. First is the struggle between "searching and certainty" (190). The ability to know for certainty is near the very heart of Latter Day Saint culture. However, many saints struggle with doubts that they have. The second is "the disintegration of sacred distance" (191). This is a struggle that members of the church have been scrutinized ever since Joseph Smith claimed to see God and Jesus Christ in a grove of trees as a fourteen-year-old boy. It is the belief that God "[made] man in [their] own image" (Gen 1:28). That man is the literal offspring of a Heavenly Father and therefore has the potential to be like Him, just a we have the potential to be like our father and our mother. Lastly, Givens states, that LDS film includes themes of "isolation and integration". There is a common saying in the church that members are supposed to be "in the world, but not off the world". Mormons still have the human need to fit in, to have friends, and to be accepted. However, they are exhorted to not partake in "worldly" practices.

Cinematic Transcendence

Cinematic transcendence includes, but it not limited to, films that assist individuals discover their relationship with God, their communities, and themselves. This definition has been developed through a variety of sources. First, that “this is life eternal, that they might know thee the only true God” (John 17:3). Second, that “Without question, the environment of our homes and families is the single greatest influence in our identity as individuals” (Monte J. Brough, “Search for Identity”, Ensign, May 1995). Also, Russell M Nelson also stated, “It is important to know who you are and who you may become. It is more important than what you do, vital as your work is” (Identity, Priority, and Blessings). If relationships help us to discover who we are and are the most important objective people can strive for then cinematic transcendence must include those themes.

This definition is crucial to my project because I am going to be looking at LDS cinema through the lens of identity. How does LDS cinema stack up to representing LDS people? Or how do LDS people identify with these films. The answer to these questions, according to my definition or cinematic transcendence, will state if these plays are transcendent or not.

The Project

            

I am going to watch the top ten grossing LDS films and analyze them on how well they represent the LDS community. Before I list which films made the list I feel it would be appropriate to define LDS cinema. My definition is borrowed from Eric Samuelsen (associate professor of theatre at BYU). He states LDS films are, [feature [films] made by an LDS [filmmakers], intended for theatrical release, dealing specifically with Mormon subject matter, and largely marketed to LDS audiences by a studio specifically created for the task of Mormon film distribution" (Samuelsen 216). These films (and their box office earnings) are

10. Charley	813,702
09. Brigham City	851,136
08. The RM	1,111,615
07. Best Two Years	1,163,450
06. The Single's Ward	1,250,798
05. Saints and Solders	1,310,270
04. The Book of Mormon Movie: The Journey	1,672,730
03. God's Army	2,631,466
02. The Work and The Glory	3,347,439
01. The Other Side of Heaven	4,720,371

The Process

            

I am going to start at with Charly and movie up the success ladder, watching about one a week (one week I will double up) and look at each film's representation of Mormons. I will then write and post about every film individually. At the end of the process I am going to write a post over viewing the process and create a list of common themes relating to identity in these films. I will include bibliographic information on a single post that will be updated as I find more articles and source the reference during the process. There will be a link to the post at the bottom of each blog post.

Bibilography

LDS Film Project Works Cited

Astle, Randy. "What Is Mormon Cinema: Defining the Genre." Dialogue: A Journal of Mormon      Thought 42.4: 18-68. Print.

Cummings, Richard J. "Some Reflections on the Mormon Identity Crisis." Sunstone 4.5 (1975): 27-32. Print.

D'Are, James. "“In the Beginning Was the Word:” But That Was Only the Beginning." LDS Film Forum 1.1 (2002): 62-68. Print.

Givens, Terryl. "“There Is Room for Both” Mormon Cinema and the Paradoxes of Mormon Culture." BYU Studies 46.2 (2007): 189-208. Print.

Hollist, Julie. The Ideal Mormon Woman an Analysis of Ensign Articles and Comparison to LDS Women's Perceptions of Gender Role Expectations. Thesis. Utah State University, 2009. Print.

Olsen, Steven L. "Joseph Smith and the Structure of the Mormon Identity." Dialogue: A Journal of Mormon Thought 14.3 (1981): 89-99. Print.

Pace, David G. "God's Army: Wiggle Room for the Mormon Soul." Dialogue: A Journal of Mormon Thought 35.2: 182-88. Print.

Samuelsen, Eric. "Finding an Audience, Paying the Bills: Competing Business Models in Mormon Cinema." BYU Studies 46.2 (2007): 209-30. Print.

Robbins, Dallas. "Marrow: Richard Dutcher’s Mormon Films." Dialogue: A Journal of Mormon Thought 42.2: 169-85. Print.