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Nationalism
5 min read

Beware Europe’s political messiahs

As European leaders increasingly co-opt Christianity, George Pitcher asks if they have come to serve or be served?

George is a visiting fellow at the London School of Economics and an Anglican priest.

two politician site at a press conference desk and laugh, behind them is a backdrop of the political party's logo.
Jorge Buxadé, a leader of Spain's Vox party, and Giorgia Meloni, Italy's Prime Minister, at a Brothers of Italy press conference.
Vox.

I worry that European Christianity may face an identity crisis. Not in the usual sense of us beginning to forget what we are and, as a consequence, who we are. Rather that the continent’s formative creed may be misappropriated by a gathering global trend towards identity politics, which may seek to conflate and deliberately confuse a messiah with the Christ. 

It’s easily enough done. Indeed, the first disciples did so. The Jewish resistance movement against the Roman oppressors, of which we presume John the Baptist was a leading light, was expecting a new Elijah to lead them to liberation – their messiah. 

What it got was a Nazarene called Jesus. The scales finally fall from the eyes of rock-like fisherman Peter when the Nazarene asks him who the crowds say that he is. Maybe John the Baptist, maybe Elijah, maybe a risen prophet, replies Peter.   

“But who do you say that I am?” asks Jesus of him. In one of the most dramatic verbal responses of the gospel, Peter (I imagine) whispers his answer: “The Christ of God”, though other followers evidently remain confused. The crowds who welcome him triumphantly into Jerusalem hail the “Son of David” and lay palms in his path. And arguably Judas Iscariot anticipates a popular uprising, a Passover insurrection, by arranging his arrest. 

They confuse the Christ with a messiah. The distinction is important today in the conduct of our polity. Because the latter delivers temporal deliverance, the former eternal. A messiah is cultic, the Christ is universal. 

That’s important because populist European politicians can adopt a messianic pose. But they struggle to be Christ-like. Do they come to serve or be served? Let’s just say that our popular political parties are light on foot-washers.   

The messianic leader, the chosen one, anointed by nation rather than by God, is at the heart of Europe’s current identity crises. 

But being messianic remains more than enough for nationalistic leaders, just as it would have been for one whose sole brief was to lead the people of Israel from under the jackboot of Rome two thousand years ago. The messianic leader, the chosen one, anointed by nation rather than by God, is at the heart of Europe’s current identity crises.  

Behold Christian Nationalism. It is cultic of the personality and it has a specific self-interest in co-extending the messiah with the Christ. Jared Stacy wrote excellently here recently that Christian Nationalism “has political potency because it taps into primal identities, theologies, and moralities.” 

Stacy’s article is a tour de force on the subject, connecting Christian Nationalism’s social and historical reality to its current political potency, and I don’t intend to channel it. What I will attempt is to pick up where he leaves off.   

He writes that the movement’s main error seems to be “its move towards supremacy. Jesus’s rejection of political power in the wilderness and his resistance to political power through the Cross are lost in the rising tide of Christian Nationalism.” 

This seems to me to allude to precisely the distinction I wish to make between the servant ministry of the Christ and the political potency of a messiah. To elide the two is the intention of popular nationalists when they claim Christian heritage. And there lies the true danger in this identity crisis. 

What I find so alarming is that it points towards the Church’s role in an emerging rejection of some aspects of liberal democracy in favour of populist nationalism. 

A Financial Times article this month traced the populist Catholic counter-revolution in Europe, which corrals religiously conservative young voters in support of nationalism and conservative family values. And it shows us why messianic Christianity can be so frightening.  

Its central argument, based on a poll in the French religious newspaper La Croix, is that youthful conservative Catholicism is re-emergent “as a political, as well as religious, force” and nor “is the fusion of Catholic identity politics with nativist and ‘sovereigntist’ populism… particular to France.” It notes the electoral success of the Vox party in Spain, Giorgia Meloni’s Brothers of Italy and Poland’s Law and Justice party.  

What I find so alarming is that it points towards the Church’s role in an emerging rejection of some aspects of liberal democracy in favour of populist nationalism. And, while I don’t want to be melodramatic about this, I believe that in turn directs us to the darkness of the Church’s role in 20th-century European history. 

We may or may not be familiar with photos of clerics giving the fascist salute, as in Spain in support of General Franco. But it’s been a matter of constant debate since the Second World War whether the Church was an active collaborator with the Nazi regime, an honest dupe or a double agent, appearing to co-operate so that it could subversively defend persecuted Jews. 

It’s dangerous to invoke Hitler at every apparent threat to the liberal democratic federalism of the post-war European experiment. But it’s also valid to note resonances when the Church allies itself with nationalism. And that’s what is frightening. 

The direction of travel of European popular politics, from France to Vox to Brothers of Italy, places Christian witness chillingly into question. And, of course, this isn’t just about Europe. 

Donald Trump attempted to annexe scriptural authority to himself as president by posing outside a church brandishing a copy of the Bible during the Washington DC riots in response to the death of George Floyd at police hands (and knee) in 2020. 

Returning to Stacy’s commentary, he writes:  

“Christians may need to distance themselves from the American Jesus, only then to discern the things they have picked up and called ‘Biblical’ which are merely ideological.” 

Amen to that. A simple start to that might be to quote Terry Jones in Monty Python’s Life of Brian and assert of Trump that “he’s not the messiah, he’s a very naughty boy.”  

Rather more seriously, we need to recognise, not just from our history, but the warning that the United States offers us today of sub-messianic nationalist leadership. For those of us of faith in Europe, we’ve had more than enough examples of the dangers when the Christ is adopted as a personality cult. 

The most supranational authority to which Christians owe allegiance is not a worldly power. And we lose sight of that identity at our peril.  

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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