A preface to this review: some years ago I was invited to be part of a panel discussion; the theme was ‘What can Protestants learn from Catholics about film and what can Catholics learn from Protestants?’

Rob Johnston from Fuller Theological College said that Protestants need to learn about the Catholic tradition of images as well as a deeper incarnational theology (and has developed this theme in his book Reel Spirituality).  In responding about the Protestant tradition for Catholics with its emphasising the Word of God, I mentioned that Catholics are rather reticent in their overt professions of faith and are not prone to confess publicly that Jesus Christ is their Lord and Saviour or to quote the scriptures as if they were written this morning with today’s readership in view for a literal interpretation.

These memories came to mind while watching Facing the Giants.  It has been made on a small budget by a Baptist community and church in Georgia and is set in a Christian community college.  It is definitely not reticent in the characters continually quoting the scriptures (rather incessantly from an ordinary Catholic sensibility).  It is strongly confessional with characters proclaiming their faith in their Lord and Saviour, interpreting every event, including the football competition which is at the core of this film, in devout and explicit God-language.

A glance at the Internet Movie Database blog comments indicates that the audiences made up of the kind of characters portrayed have been genuinely and sometimes profoundly moved by the film and its ‘clean’ treatment of its theme in contrast to the language and innuendo (and more explicit treatments) of mainstream films. Violence is not a concern because this is a very muscular Christianity.  The football competition stands as a symbol of applying one’s gifts and talents to a competitive combat (‘play hard’).  The training is particularly tough and physically demanding but seen as a rigorous, personalised kind of asceticism.  The blog comments mention applause during screenings, laughter and tears as well as admiration for traditional values, especially obedience to parents.

But, beyond this niche audience (which is not inconsiderable given the push in the years after The Passion of the Christ to provide films for this mainly American religious audience), how does the film come across?

More mainstream Christians, especially of the more reticent sensibility about professing faith in public or in the ordinary happenings of life, will find the religious dimension often cringe-making. It is very much American religious heart on sleeve. The reaction is not because they themselves do not pray or share some of the beliefs, but that this extremely earnest piety is very didactic, preachy and, at times, seems motivated more by proselytising than by trust in the power and persuasiveness of dramatic cinema storytelling.  And some of the interpretations using the scriptures as metaphors (like the assistant coach applying Jesus’ saying about the narrow gate to the hero’s not kicking soccer style but aiming at the American football goal posts) are taken to limits.

And if this is the response of the mainstream, the wide audience who does not use this kind of language, who do not have these mindsets, will feel alienated by the explicitness and the style.

This is a football film about underdogs having faith (and Faith) in themselves and God and going on to win because God is on their side and, even though they would praise him in defeat, defeat is not on the prayer and action agenda.  The opposing team is the Giants (a rather boorish and secular group) and the key player-hero is called David!  The screenplay moves along the expected lines and conventions of the inspirational sports film.

One blog writer did dissent from the praise and saw a danger in the somewhat blind faith exercised by the characters who really do expect God to help them because of their faith and his being on their side and that everything is possible.  The writer asks about the potential for disillusionment when with, say, a child dying of cancer, the child is not healed and dies.  A significant question about faith and presumption.

Associate pastor, Alex Kendrick co-wrote, produced, directed and acts in the central role of the coach.  His performance and those of others are frequently stilted.  Many performers are not professionals and act accordingly.

Facing the Giants did get a theatrical release in the US and does show there is a market out there – but, more by its style and explicitness and its conversion aims, it is limited to more evangelical Christians.

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