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In His Steps (1964)
"Christ suffered for us leaving an example we can follow in His steps." 1 Peter 2:21 ~
3 Observations on this genuinely humble, low-budget 1964 movie: first, the three small-town leads being aspiring actress Rachel Paige (Cheryl Lee Morrison), newspaper editor Ed Norman (Harry Elders) and Pastor Maxwell (Russ Reed) are especially under-stated, well-written performances. It is evident why Rachel and Ed choose not to postpone decisions regarding eternity until later after the opening scene in church. Their decisions to spiritually grow and mature into true believers are in sharp contrast to some relatives and co-workers who aren't giving any thought to the reality that their sins need to be forgiven. Second, the location shooting captures a tangible feel for the local community in which the stories play out. This enhances the movie. Third, the low-key subtle acting not only conveys Rachel and Ed's decision to clear their lives of the debt of guilt before Jesus Christ and receive forgiveness by faith in His finished work of redemption at the Cross of Calvary; but, also their determination to share this Good News with others in need of a new life with the Savior that honors Him.
Shenandoah (1965)
"... in the name of the Father and of the Son and of the Holy Spirit," Matthew 28:19 ~
3 Observations on this laboriously long 1965 American Civil War drama. First, family patriarch Charlie Anderson's (James Stewart) "we won't join the war, it doesn't concern us..." narrative is devoid of audience-engaging character development or mounting dramatic conflict considering the time period the movie is set in. The one possible tension-building sub-plot concerning youngest son Boy's (Phillip Alford) stumbling onto a Confederate ambush and being captured is regrettably never fully realized. Second, the writing lacks any rich examination or integration of the Christian faith that supposedly is the spiritual glue holding the nine-member Anderson family together. The writers could have examined faith through daughter Jennie (Rosemary Forsyth) and/or daughter-in-law Ann's (Katharine Ross) characters but unfortunately didn't. Third, the production does have location shooting in its favor which allows the physical setting of the State of Virginia to act as a quiet background character for the viewing audience. The land grieves under the weight of continuously shed human blood due to the Civil War as demonstrated by the sudden deaths of oldest son Jacob (Glenn Corbett) and his brother James (Patrick Wayne).
The Spiral Road (1962)
"No man has seen ELOHIM ..." 1 John 4:12 ~
3 Observations on this laboriously lengthy 1962 pseudo-adventure drama: first, the writing could have easily excised forty minutes of unnecessary dialog and exposition from the central narrative thereby tightening the story arc of how and why Dr. Anton Drager (Rock Hudson) becomes a Christian. Second, on the plus-side, the location shooting was a wise decision highlighting the challenges of overseas medical assignments as the Indonesian landscape becomes a character in-and-of-itself in the drama. In contrast, John Ford's "7 Women", a similar studio-bound drama is disadvantageously claustrophobic. Third, the promising supporting characters like Willem Wattereus (Geoffrey Keen) are woefully under-developed and under-utilized in propelling the narrative forward.
Change of Habit (1969)
"... man does not live by bread alone, ..." Deuteronomy 8:3 ~
3 Observations on this low-key 1969 movie: first, when Dr. John Carpenter (Elvis Presley in a supporting role), a physician in a ghetto clinic, quotes the afore-mentioned Bible verse the writers have the character misappropriate it to explain his medical practice's location. In reality, the verse teaches a faith-based spiritual principle that more importantly than human physical nourishment "man lives by every word that comes from the mouth of the LORD." Second, the movie is a delight. It's an under-stated story of how three female leads Sister Michelle (Mary Tyler Moore), Sister Irene (Barbara McNair) and Sister Barbara (Jane Elliot) boldly persevere, in a hostile barrio setting populated by downcast hurting souls, to fulfill the Great Commission while honoring that they "are not of the world," John 15:19 and "not to be conformed to this world," Romans 12:2. Third, through-out the movie there's on-going comedy courtesy of elderly neighbors Lily (Ruth McDevitt) and Rose (Doro Merande) observations of the "speck in everyone else's eyes without noticing the huge plank in their own eyes" with comments like "when you see pictures like that you realize what great force for good Irene Dunne was."
Elmer Gantry (1960)
"When I was a child, I understood as a child and spoke as a child ..." 1 Corinthians 13:11 ~
3 Observations on this 1960 drama directed and written by Richard Brooks: first, his derivative screenplay based on the 1927 Sinclair Lewis novel is not the result of new ideas but fundamental changes in the character and actions of female evangelist Sharon Falconer (Jean Simmons). Second, the writing defends the Biblical principle that faith in Christ is required for salvation in the very first scene humorously set in a barroom on Christmas Eve; and, much later in the brutal scene set in a newspaper publisher's office where the main characters converge after unfavorable front page articles produce wide-spread community backlash against the ministry. Third, Gantry's (Burt Lancaster) inconstancy as the central pivotal character fails to convey repentance, considering the Bible verse he quotes, to the viewing audience in the scene following the movie's climatic tragedy.
7 Women (1965)
"Greater love has no one than this: to lay down one's life for others." John 15:13 ~
3 Observations on this 1966 drama directed by John Ford. First, Janet Green and John McCormick's screenplay based on "Chinese Finale" by Norah Lofts plays out as an allegory described in terms of characters, figures, and events converging because of Divine Providence. Second, the noble performances mostly explain or teach a Biblical principle: that faith in Christ is required to lay down one's life for others. Third, that absolute Biblical truth escapes Dr. Cartwright (Anne Bancroft) the New Yorker who smokes, drinks alcohol and disdains religion; and, fails to be articulated through the strict Miss Andrews (Margaret Leighton) the Head of the Mission whose central pivotal character regrettably turns into a stereotype in the latter third of the movie when she could have been written as the voice of grace and mercy for the viewing audience.