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
Culture
Fun & play
4 min read

Silly fun, serious question

The Pope’s Exorcist ask viewers what is it to have faith in the face of true and terrifying inexplicable evil. Priest Yaroslav Walker reviews.
A priest holds a cross up in his hand in a chaotic environment while a colleague looks on
Father Amorth in action, played with commitment by Russell Crowe.
Sony Pictures.

It goes without saying that all contemporary films about demonic possession and exorcism are seen in the light of the great masterwork. 1973’s The Exorcist is pretty much a perfect encapsulation of what an exorcism film needs to have: believable characters, a strong script, proper pacing, and a genuine respect for the concept of the supernatural – all culminating in an opportunity for the viewer to wrestle with their faith. Exorcism films rise or fall by the metric this cinematic cornerstone inaugurated. I’m pleased to say that The Pope’s Exorcist does a reasonably decent job. 

Let’s be clear: it’s silly fun, and a bit of candy-floss fluff, which allows Russell Crowe to launch an assault on yet another accent. Yet, sugary-sweet fun is no bad thing, and underneath the loving horror-genre-cliché surface, there is something of substance to consider. The plot is standard: afflicted family – Julia and her children Amy and Henry – arrive in Spain to oversee the restoration of an old Abbey Julia’s late-husband left the family. Boy is possessed. Boy cannot be saved by medical science, so the exorcist saves the day.  

The performances are all committed, and you can tell the performers are having a great time, Crowe especially.

The possession is quick and effective with scenes suddenly cutting from the horrifying to sanitised medical procedures (an homage, I think, to the great original). Attempts to explain matters away scientifically are attempted and quickly abandoned, and the film is proudly unambiguous. The Holy Father knows of this Abbey, and its dark history, and personally tasks Crowe’s Amorth with uncovering the truth. The film’s pacing is excellent in the first half, and wastes little time in introducing the main players. The script is sharp and lean (for the most part), with minimal exposition, allowing details to emerge naturally. The performances are all committed, and you can tell the performers are having a great time, Crowe especially. The final third is tremendously silly and overblown, and probably could have been cut down dramatically, but one can forgive it its excess for the themes it raises. 

Purportedly based on the autobiographical writing of the late Father Gabriel Amorth, sometime exorcist for the Diocese of Rome, The Pope’s Exorcist could be viewed as shifting the burden of the question posed by the 1973 classic (what does it mean to have faith in the face of true and terrifying inexplicable evil?) to the institutional level. It is 1987 and the winds of modernity are blowing hard. Amorth (Crowe) is a contradiction of a priest – he rides a Vespa scooter, jokes around with nuns, and demonstrates a relaxed attitude with those in authority, and yet his faith in God and his belief in the supernatural is solid. He works tirelessly in a world and a Church that balks at him: expecting rigidity and conformity in outward appearance, yet sceptically admonishing him for his belief. It could’ve just as easily been set in 2023. Such themes resonate in the context of a Western Church still struggling for self-definition in a modern world of which it is ‘in’ but never meant to be ‘of’.

The film is very much speaking into the moment. What is the supernatural, and does the Church even believe in it? 

The question the film raise (whether it means to or not) is how will the Church see itself and its mission in the coming decades. Early on Amorth is admonished by an American cardinal who is intent on making the Church more ‘relevant’ to the modern sceptical generation. He sees little use for the office of exorcist, and seems to disregard the supernatural as fantasy. As Amorth investigates the possession he learns the dark truth of the Abbey and its role in the Spanish Inquisition. He is confronted with the pernicious persistence of sin – his sins, the sins of those around him, and the historic sins of the Church. 

The film is very much speaking into the moment. What is the supernatural, and does the Church even believe in it? What is evil, and what does it mean for a man and for the Church to truly deal with sin? How can the Church speak into a world that does not believe, and yet is not equipped to confront the reality of evil?  

As the film reaches its conclusion it becomes clear that the Enemy does not wish to simply possess a child, but wishes to possess the Church. Watching the film in view of the present struggles the faith faces – a struggle over the very definition of sin, evil, redemption, etc – one can read the demon as a stand-in for the Spirit of the Age. Whether it means to or not, The Pope’s Exorcist asks the viewer to genuinely tackle the question of who ought to direct the Church – contemporary mores or the eternal truth of Christ? The final scene gives a hopeful answer while also hinting at the possibility of sequels. It is camp, it is silly, but it affirms life, goodness, truth, and faith, and I wouldn’t say no to another outing for Crowe as Amorth.