Explainer
Atonement
Creed
Easter
Morality
Suffering
5 min read

Christianity, suffering and the morality of the victim

Graham Tomlin explores the real reason why Christianity seems fixated on suffering.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A medieval painting of a suffering Christ surrounded by two angels looking concerned.
Andrea Mantegna, Christ as the Suffering Redeemer.
Richard Mortel, CC BY 2.0 , via Wikimedia Commons.

The Times caused a bit of a stir over the Easter weekend with an article entitled 'I’ll choose heroes rather than martyrs anyday.' The article linked Christianity’s fixation with suffering, climaxing with the crucifixion of Jesus, with the tendency in modern life to accord moral value to victimhood.  

The article’s author, Matthew Parris, is a wonderful writer, always interesting and provocative, and often talks a lot of sense. He is absolutely right to resist the urge to elevate an often self-claimed victimhood as in itself giving moral power and authority. Being a victim of bad treatment doesn’t in itself make your moral cause right or wrong. It might simply mean being in the wrong place at the wrong time.  

The problem with elevating victimhood, is that none of us are solely victims. Most of us can find some area of life where we have felt we have been badly treated, but if we’re honest, we can also find other parts where we have treated others badly too. Although it’s tempting to divide the world into villains and victims, oppressors and oppressed, it’s never quite as neat as that. Of course, some people, and some groups of people are definitely more sinned against than sinning; issues of real injustice matter and need urgent attention, but however true that is, none of us falls solely on one side or the other of that line. We are not all equally guilty or innocent. At the end of the day, we are all part villain and part victim. 

Parris is also right that Christian art and literature tends to focus on suffering to an extent that jars with our modern sensibilities. I just don’t think he understands why. Because the more I’ve thought about the article, the more it seems to me to miss something essential about Christianity. 

We Christians believe that the passion of Jesus – his death and resurrection – has saved the world. Yet, even though we often focus on the agony of Christ on the cross, or the sacrifices of the saints and martyrs, we don’t believe in the redemptive power of suffering in itself. Suffering was never part of the original plan. It is not suffering or victimhood that saves, but love. Divine love.  

 

It is not the victimhood that conveys moral worth, but the kind of divine love that is so strong that even suffering will not knock it off course.

When Divine Love entered a broken and fallen world, it was always going to be messy. The love of God for the human race meant suffering for Jesus, but only because we humans have become such twisted, confused and blind creatures, that we failed to see that in Jesus, God himself was coming to us and we tried to kill him. Love may or may not lead you to become a victim (more often than not it does in a broken world) but it is not the victimhood that conveys moral worth, but the kind of divine love that is so strong that even suffering will not knock it off course.  

Real, gritty, determined love, not the sentimental, starry-eyed kind we often think of, is so strong that it keeps going, even when there are real sacrifices to be made, losses to be endured, pain to be borne. That is divine love. That is the kind of love we saw on the cross of Jesus - the kind that compelled Jesus to take on the sin and suffering of the world to neutralise its power once and for all. It was love so strong that on the first Good Friday it stood alongside the victims of injustice and suffering, the countless, unknown people over the centuries who have been persecuted or executed unjustly. And yet it was also so scandalous that it could also reach out to the villains, the criminal on the cross next to Jesus, the soldiers who tortured him and say ‘Father forgive them, for they know not what they do.’ It is the kind of love that is so strong that not even death can stand in its way, as we saw on that first Easter Sunday. 

That is why we Christians value suffering, especially that which is voluntarily borne. Not because it conveys the spurious moral high ground of victimhood but because it is a sure sign of love. It is why we have always venerated our martyrs – because their love for God was so strong that they would even give up their lives for him. It is why the early Christians chose the cross as the central symbol of their faith – because it was the unmistakeable sign of how deep and strong was the love of God for the human race, despite our thoughtlessness, cruelty and self-centredness. Being a victim meant very little to the early Christians, and they never played that card, because what mattered to them was not victimhood but love.  

A recent story highlighted Catholic seminarians in Mexico who were willing to press ahead with getting ordained, even though 50 priests in the region have been murdered since 2006 for speaking out against the violence and damage done by the drug cartels which rule the roost in the local area. As a bishop, I have ordained many priests here in the UK. Not many of them will face that kind of danger, yet the calling is exactly the same – to love people in the name of Christ and to grow the community of people who follow him. Whether you end up getting killed or not, it is not the sacrifice, or the victimhood that gives value, it is the love that inspires the sacrifice. 

What our world needs is not so much martyrs or heroes, but people committed to deep, passionate, determined love.

Instead of martyrs, Parris wants heroes. He plumps for Nietzsche’s vision of the powerful assertiveness of the minority, and his despising of weakness, pity and victimhood. Yet be careful what you wish for. If moral authority and rightness become a matter of who has the power to assert their will more strongly than the rest, what we end up with is just the kind will to domination, the competitive, contentious public space, the desire for power and influence for its own sake, the silencing of others, just because social media means you can, that is the blight of so much modern life. 

What our world needs is not so much martyrs or heroes, but people committed to deep, passionate, determined love. Seeking the best and the good of your neighbour as much as yourself, whoever your neighbour happens to be, might mean you end up a hero, it might mean you end up a victim, but to love God and to love your neighbour – this is what lies at the heart of things.  

That is the kind of love we celebrate every Easter in the story of Good Friday, leading through to Easter Sunday. It is that that lies at the heart of the Christian story, not victimhood. And that is why we need more true, deep Christian faith in our societies, not less. 

Review
Culture
Easter
Resurrection
6 min read

Cinematic Passions

Gibson, Darbont, Pasolini, Eastwood and Scorsese all feature in priest Yaroslav Walker’s top five Good Friday movies.
A haggard Jesus is looks ahead during the night.
Jim Caviezel in The Passion of the Christ.
Newmarket Films.

Good Friday is a tough day for a Christian. It is a day of weeping and mourning; of venerating the Cross and meditating on the terrible reality of Christ’s tortuous death. It is an annual memorial service for a loved one, and the pain and grief is never made any easier because the reality of the Cross is fresh and relevant and immediate in the life of the believer: it is a moment that transcends time and space and is as real this year as it was in the thirty-third and final year of Christ’s life. It is also traditionally a day of intentional and serious fasting - mainly a diet of water and weeping for me. So, by the evening you’re wiped out and just want a bit of rest, perhaps relaxing in front of a film; that is certainly how I feel. Yet every Christian wants to spend the day focused on the Passion of Jesus, so not just any old film will do - it ought to be a film that allows us to keep Jesus’s sacrifice in mind. Below are my top five tips for a Good Friday evening watch… popcorn to be eaten plain, or salted with tears if you must! 

5 - The Passion of the Christ

The obvious choice. Controversial upon release for its depiction of the Temple hierarchy and the bloody violence with which it depicts Christ’s scourging and Crucifixion, it lives now in a certain ignominy. I would argue it deserves a reappraisal. Gibson is a solid director, takes the work seriously, and gives us a good-looking film. Jim Caviezel gives a terrific central performance (that makes you think he deserved a better career for the last twenty years), and all the cast put in good turns. However, it's the interpretation of the meaning of the death of Christ that intrigues me. When it first hit the screens, some saw it as a bloody expression of the view that Jesus dies to appease God’s wrath. Yet Gibson carefully intersperses scenes of the Last Supper with the scenes of torture, makes Satan a demonic inversion of the Madonna and Child, and constantly makes clear that it is the power of love and not anger or cruelty that is conquering the world. It is brutal and horrific (and so in fifth place) - but so is capital punishment… so maybe we need to endure it. In this film you can find many nuances of the Christian idea of love and redemption and salvation etched upon the screen. 

4 - The Shawshank Redemption 

An man stands in the rain, topless, with face and arms raised in celebration.
Tim Robbins in The Shawshank Redemption.

A less obvious choice, and a film in which there is no vicarious death, but bear with me. Frank Darabont's epic drama sees Andy Dufresne (Tim Robbins) locked up for a crime he did not commit. Over the decades he learns how to navigate the dangers of prison life, makes friends and enemies, and becomes implicated in a great web of corruption. His great supporter and confidant is ‘Red’ (Morgan Freeman), who is the only man in Shawshank Prison who will admit his murderous guilt. This is one of those films that it's hard not to love, and you’ve probably seen it so many times before that it is the cinematic equivalent of a comforting takeaway. Under the surface of some terrific performances, masterful direction, and a heart-tugging score, the film is full of Christian themes. The innocent man punished for the sins of another, the death of Andy’s ego as he learns to find purpose in improving the lives of his fellow inmates, the dark powers of corruption brought to justice, and a man descending in the very bowels (the right word if you know the escape scene) of hell and emerging clean and reborn. Its aged beautifully, and inaugurated the Freeman voiceover as a staple of cinematic culture. 

3 - The Gospel According to St Matthew 

Jesus carries a cross over his shoulder while Roman soldiers wearing armour look on
Enrique Irazoqui in The Gospel According to Matthew.

Approved by the Vatican and made by a director in his prime wrestling with his faith, Pasolini’s masterpiece is a sumptuous black-and-white exploration of the life of Christ. The entire film is saturated with the sense of living in the poverty of first-century Palestine. Static close ups jump-cutting between one another disorient the viewer and give the impression that the supernatural is taking over the world we are seeing. It is hardly dynamic by the standards of a modern Passion film, but this is to its great benefit. Pasolini lends the film an Italian neo-realist flair that makes it seem almost like one is watching a documentary. The great joy of The Gospel is that it is a telling of the full Gospel, rather than the Passion in isolation. We see Jesus grow into manhood and into ministry, we see the shocking impact of his radical teaching, we see the conspiracy, and so when the Crucifixion of Jesus does happen it is remarkably impactful while also seeming ‘right’. We see how such a Gospel of radical devotion to God and love of neighbour does terrify a world that thinks in terms of power, and we see the great victory that the Cross really is.

2 - Gran Torino 

An older man kneels over in anguish, a window casts light and shadow over him.
Clint Eastwood in Gran Torino.

Clint Eastwood playing a role of a lifetime, and teaching us what loving one’s neighbour really looks like… what more could you want. Eastwood plays Walt: a widower, and veteran, a retired blue-collar worker, and an inveterate racist and tobacco user. Walt is embittered and alone, disgusted by the state of his Detroit neighbourhood, which has morphed from an all-white working-class community to a mainly Asian community blighted by gang violence. One night Walt saves his young neighbour from a forced gang initiation, and grudgingly becomes a mentor and quasi-father-figure to the boy, and soon his sister. Walt has no desire to connect with the world outside, but does so out of a sense of discipline and duty, and this is an excellent corrective to modern sentimental notions of love. On the Cross, Christ performs the most perfect act of love, offering forgiveness even to his executioners… it is unlikely that in that moment Jesus liked them. In the Gospel narratives Jesus is often frustrated to the point of anger, with the stubbornness of his hearers, and the lack of understanding of his disciples. Jesus doesn’t always like them, but he does love them. In the climactic scene of the film Walt resolves to make a great sacrifice to protect his community - a community he doesn’t really like anymore. This is real love, the love of the Cross. It does not emanate from fleeting and flighty emotionalism, but from a tremendous act of dedication and will. Eastwood gives us a great Good Friday lesson in love, and his performance is superb. 

1 - The Last Temptation of the Christ 

Jesus, scared and wearing a crown of thorns, looks directly into the camera.
Willem Dafoe in The Last Temptation of Christ.

My number one pick is a mammoth of visual spectacle and a roller-coaster of emotions. Martin Scorsese has always been fascinated with the Catholic faith that he can’t quite embrace, and many of his most interesting and personal films have had the Christian narrative of redemption woven through. In 'Temptation' he tackles the subject head on, and gives us a religious epic to rival any Charlton Heston flick. Willem Defoe is a lean, wild eyed, and manic Jesus - plagued by doubt and anxiety and horrific migraines that could be demonic…or they could be God. Scorsese and Defoe work together to present the ministry of Jesus in very human terms. Christ is a psychologically complex man who is struggling to cope with his mission in a world that is so very broken. Much like Pasolini’s Gospel, this is a film that takes the supernatural seriously. Nothing is ever just what it is. There is no weather event or vision or animal encounter that is not suffused with eternal meaning. The film touches on every emotion: from furious anger, to heart-rending sadness, to uproarious laughter (to this day I can’t see a priest friend of mine without shouting ‘Judith’ and bursting into laughter). The closing acts of the film allow us to see just what Christ was sacrificing on the Cross - not just the life he had led, but the life he could have led. Christ is tempted to the very end, with the worst psychological torment possible, and still he remains faithful to the end. Scorsese may not know exactly where he stands before God, but he was graced with the talent to give the world a remarkably evocative take on the Passion of Jesus.