Interview
Culture
S&U interviews
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.

Review
Comment
Culture
Death & life
5 min read

'Do you guys ever think about dying...?' - Barbie

Pat Allerton reflects on the Barbie movie, the societal questions that it answers and the existential question that it doesn't.

Pat is vicar of St Peter’s Notting Hill and author of A Pocketful of Hope

Margot Robbie as Barbie in Greta Gerwig's Box-Office smash hit movie

So I’ve just got home from watching the brand new and much acclaimed ‘Barbie’ at the cinema (don’t worry, I also watched ‘Oppenheimer’ last week). It’s 11pm, my wife and our 8.5 month old daughter are asleep upstairs and despite having church in the morning, I feel stirred to write some thoughts.

First and foremost, huge congratulations to Margot Robbie, Ryan Gosling, the whole cast, crew and team. It’s an absolute belter! Full of laughs from beginning to end. I thoroughly enjoyed myself and would encourage anyone else to go and see it.

But secondly, far from being the shallow, plastic cliché that you might expect, what you actually get is an intelligent, searing critique, albeit somehow gently done, of the world we live in and what’s predominantly wrong with it. Which is, you guessed it, men. Or more specifically, patriarchy.

The film begins in ‘Barbieland’ where everything is seemingly perfect, as encapsulated by Barbie when she describes the day we first meet her as, ‘the best day ever. So was yesterday, and so is tomorrow, and every day from now until forever.’ That is, until we meet Ken (played by the excellent Gosling). It is here that the first inkling of imperfection or wrinkle in their world is detected. As the narrator (voiced by Dame Helen Mirren) makes clear, ‘Barbie has a great day every day, but Ken only has a great day if Barbie looks at him.’ (We’ve all been there guys). His niggling insecurity and consequent competitiveness towards other Kens however, still aren’t enough to wake Barbie from her dream-like state and reveal that all is not well in paradise.

Issues of equality, respect, independence and identity are addressed in a way that left this 'pale, stale male' challenged but not condemned. 

That moment arrives unexpectedly, during what appears to be a standard evening with ‘a giant blowout party with all the Barbies, and planned choreography and a bespoke song’ to which Ken is told he should ‘stop by’. The dance is breathtaking, the happiness palpable, and yet suddenly, as if from nowhere, Barbie blurts out the pivotal line in the film, the hinge on which the whole (Barbie) world turns, ‘do you guys ever think about dying?’ Cue the DJ’s vinyl record screeching to a halt, the choreography closing down, the dancers looking at her in disbelief, and the general sense of a serious buzz-kill. ‘Dying to dance’, she disingenuously adds, desperate to keep the party going, to shrieks of relieved delight and Dua-Lipa's return. Disaster averted, reality restored.

Except it’s not, it’s simply avoided. Avoided by everyone that is, bar Barbie. Something has changed for her, she knows it, and she must somehow find out why. That wrinkle in her world (along with the wrinkle on her thigh) turns out to be caused by a tear in the fabric separating her plastic world from the real one.

Long-story short, avoiding spoilers where I can, Barbie and Ken then embark on an eye-opening, perspective-shattering, journey from their world to the real world in order to find out where such unnerving questions (and cellulite) were coming from. Major issues with (or norms within) our world are encountered, from the objectification of women (Barbie receives immediate unwanted attention from all kinds of men), to the totally unmerited respect of any man (with someone even asking Ken if he had ‘the time’). They each go on an existential journey of discovery, with Ken delighted to learn that in the real world, men rule the roost (except for a brief time when he thought that horses did). Inspired with fresh vision, he quickly returns home in order to make some fundamental changes to and establish much of the best practice that he’s witnessed in patriarchal L.A.

I won’t say how things end up, but suffice it to say, issues of equality, respect, independence and identity are addressed in a way that left this ‘pale, stale male’ feeling both challenged but not condemned. Kudos to the team for getting that balance right! However, as big and important as these issues are, and as satisfying an ending as was reached from a social justice warrior’s point-of-view, it struck me that the biggest elephant of all was still left there in the room, or at least charging around on the beach. Because the very question that began her journey, the deepest one that woke her up, is the very one that’s just left hanging, unaddressed and ungrappled with.

The music stops and that is it. And yet don't our hearts long for more?

It’s almost as if that moment of existential angst on the dancefloor (and who hasn’t had one of them), realising the fragility of our own mortality, did nothing more than focus Barbie on the need to lay hold of everything she can in this life, rather than exploring the reality (or not) of the next. Our culture has a word for it. YOLO, if you didn’t know, standing for ‘you only live once’. Which of course is true, whether you’ve got faith or not. But the Christian worldview would go further, saying that whilst indeed you only live once, the Scriptures tell us that you also live forever (or YALF, to coin a phrase). Which sounds ridiculous on the face of it (the concept, not the phrase, although granted, YALF might not catch on). After all, as the creator of Barbie, Ruth Handler, tells us in the film, ‘ideas live forever, humans not so much.’

Unless, of course, they do, or can, which only our creator could possibly make possible. And so Ruth’s appearance raises another interesting question, if she made Barbie, who made Ruth? Only when we’re dealing with questions of this nature can we be positioned to take on the big mama (I was tempted to say ‘daddy’) question of, ‘do you guys ever think about dying?’ Which, of course, every one of us does. You can’t be human and avoid doing so. You’d have to be a doll in a made-up world.

But it’s a frightening thing to do, whether in Barbieland, in England’s green and pleasant land or anywhere for that matter. Because it all just looks so final. Like the music stops and that is it. And yet don’t our hearts long for there to be more? For one more song, for the beat to continue? Dare we hope for resurrection where life and light beat death and darkness? Because as beautiful as this life is, with all its opportunity for growth and freedom, be it in self-revelation and actualisation like Ken (the film ends with him wearing a hoodie that says, ‘I am Kenough’), or greater progress and equality on a socio-political level, experience tells us that until we have an answer for Barbie’s first and biggest question, then our own days here on earth, however good, happy and choreographed, will always be rudely interrupted by the reality of death and its long shadow. Find an answer for that... and let the DJ’s music play.