Interview
Culture
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4 min read

Kelsey Grammer is back in the building

As vintage comedy Frasier reboots, Kelsey Grammer talks with Krish Kandiah about his comeback and the significance of another recent role in Jesus Revolution.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A group sit in a lounge playing musical instruments while the man closest to the camera laughs.
Kelsey Grammer plays Pastor Chuck Smith in Jesus Revolution.
Lionsgate.

Staying up late on a Friday night to watch Cheers was one of the regular highlights of my childhood. My parents were as bewitched as I was with the sonorous voice of Kelsey Grammer. Indeed, the whole world loved it. His spin-off sitcom Frasier went on to run for 11 years, winning 37 Emmy awards, a feat only recently surpassed by Game of Thrones. Grammer himself became one of the most decorated, well-loved – and well-paid - actors in the world. 

Nearly 20 years after its final episode Frasier is being rebooted. This time it is returning to Boston, the place where everybody came to know Dr Frasier Crane’s name. I, like many, are jubilant, convinced that the warm, masterful and often farcical humour will resonate just as well with a new audience. But what about Grammer? How does he feel about putting on the jester’s motley and playing Dr Crane again? 

“He's fantastic.”, Grammer explains to me with a broad smile and clear enthusiasm. I find myself wanting to tell him everything that’s keeping me awake at night.  

“Whatever it is about this journey with Frasier: he's lived a kind of a parallel life with me. Now we've found our way back to one another.” 

Grammer seems to be as excited as I am about the comedy comeback, but has Dr Frasier Crane changed over the decades? He explains: 

“He's a little wiser, a little calmer about some things. He's still a bit of a nuts on others. But the growth of the last 20 years or so in his life is reflected, I think, in this performance now.” 

Sometimes our greatest triumphs are accompanied by our lowest moments. At the same time that Frasier was first showering Grammer with fame, fortune and critical acclaim, he was wading through personal trauma. Substance abuse, addiction, and divorces resulted. I had to ask Grammer if he was a stronger person this time around:  

“I came to this one differently. I came to this one prepared to enjoy it. The previous manifestation of Frasier was a little bit much maybe a little bit too soon. It was challenging at times.” 

Grammer’s personal journey fascinates me. He seems to have resolved the sense of emptiness that so often accompanies great success.  Perhaps a clue can be found in the film Grammer is in London to promote. Jesus Revolution is based on a true story from the 60s and centres on a small church in Florida which gets invaded by hippies.  Grammer plays the role of Chuck Smith, the pastor who is torn between two very different congregations.  

“He spoke to my sense of good. People finding themselves, finding their way forward and not giving up, not relenting. I loved his search and his courage in the face of a waning congregation and the challenge of trying to make God relevant in that time.” 

Time magazine covers from the 60s and 70s.

Two Time magazine covers beside each other. One reads 'Is God dead?' The other 'Jesus Revolution'.

The film illustrates this challenge by bookending two editions of Time magazine. At the start of the film Grammer waves a 1966 cover at his sparse, stiff congregation. It is jet-black and asks pointedly “Is God Dead?” By the end of the film Grammer, surrounded by a crowd of unlikely long-haired worshippers, is clutching a Time Magazine from 1971, this time featuring on its cover a psychedelic picture of a bearded Christ proclaiming “The Jesus Revolution”.   

Grammer’s character experiences his own personal Jesus revolution in the movie. He welcomes those long-haired bare-footed hippies into his home, his church, and his life, and as he begins to see the world – and God - through their eyes, he becomes a kinder, braver and happier person.  

This is what I see in the Hollywood superstar I am interviewing: someone willing not only to talk openly about his faith, but to actively promote it. He is a man on a mission as he tells me: 

"You can defend and champion and be an activist for a sort of alternate lifestyle or any number of things that you think are important. I applaud that. But it's also okay to applaud and champion the idea that a life of faith has equal value…” 

Grammer, now wistful and warmer, adds: 

"I just thought, I want to do something that has value, meaning, you know, other than just making people laugh." 

Grammer grew up in a family of faith, but that family was also torn apart by heartbreak. His father was brutally murdered when he was just 13 years old. Seven years later his sister was abducted, raped, stabbed and left to die in a trailer park. I ask Grammer bluntly how he can have faith in God after such horrors and suffering: 

“Well, I've been wrestling with it my whole life, since the early days of when tragedy first came knocking at the door… And I spent a long time looking around, you know, thinking, what the heck happened? Very recently, I stood on a baseball field at one of the harvest revivals and I just said, “Where were you?”. He said, “I was right there.” 

Grammer has found a way to make sense of his life, a way to deal with trauma and tragedy. Like Chuck Smith making room for the outcasts, like Dr Frasier Crane making time to listen to troubled people on the radio, Grammer could be a new sort of pastor for a new generation.   

“I think people are walking around with broken hearts. I hope they have a chance to say: ‘Well, maybe, maybe this faith thing isn't so bad.’”  

Maybe he’s right. For a man that has experienced more than his fair share of personal tragedy, I have the feeling that he knows what he’s talking about. I came away feeling moved by his continuing faith in God despite everything he has suffered and despite everything he has struggled with. I hope audiences will see something of that authenticity and challenge in Jesus Revolution.  

 

Jesus Revolution is on UK and Irish cinema release. Tickets are available now.

Article
Belief
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Film & TV
5 min read

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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