Column
Culture
Film & TV
Weirdness
Zombies
7 min read

Why do films portray Christians as crazy?

Exploring why films often portray the god-fearing as ‘always so god-damn weird’, psychologist Roger Bretherton recalls a first divine experience.
A crazed-looking man walks away from a burning backdrop.
Scott Shepard plays the crazed preacher in The Last of Us.
HBO.

We knew we were in trouble when he started quoting the Bible. If there is one rule we should all follow in a zombie apocalypse it is not to trust the isolated community of believers huddled around a Bible-quoting preacher. You know the plotline. The one that never occurs in Star Trek: the crew of the USS Enterprise land on a paradise-like planet only to discover that everything is exactly as it seems. No. The rules of genre television must be upheld. If it seems too good to be true, it probably is. 

This was the strong suspicion my eldest child and I immediately leapt to while watching season one, episode eight of HBO’s The Last of Us. If you haven’t seen it, it’s a zombie apocalypse drama, a bit like The Walking Dead, but with more giraffes and fewer zombies. Is it a virus? Is it radiation? No, it is a fungus that has zombified the masses. Starting with a few isolated infections here and there it rapidly mushroomed (I guess) to turn the placid citizens of the world into manic flesh-eaters. All I’m saying is keep applying the anti-fungal toenail cream, it may be the only thing standing between us and the collapse of civilisation as we know it.  

So, when episode eight opened with a previously unknown character quoting the Bible to a fearful flock hiding in a diner, we knew things weren’t going to turn out well. The signs were all there. He was almost definitely a paedophile, possibly a murderer, and very likely a cannibal. As it turned out we’d hit a perfect straight: three for three. He was all of them. I probably should have issued a spoiler warning for that one, but to be honest if you didn’t see it coming The Last of Us probably isn’t for you. You’d probably be happier watching something more sedate. Silent Witness anyone?  

Needless to say, the episode provoked no small amount of theological commentary in our household, mainly querying why it is that anyone exhibiting even a modicum of Christian belief in shows like this, almost always turns out to be completely unhinged. Why do the righteous always have something wrong with them? Why are the god-fearing always so god-damn weird?  

Pray and take the pills 

Just to be clear, I’m not a murderer, nor a paedophile, nor a cannibal (and I have no plans), but somehow the prejudice that Christians must be crazy has come to influence how I view my own spiritual history. I have inadvertently imbibed the simple naturalistic logic that if I am a Christian then there is something wrong with me. Some part of me shakes hands with Freud and retrospectively attributes my conversion to neurosis, a coping strategy, a crutch. The assumption that the only reason I would believe something so unusual, so out of step with the people I spend most of my time with, is that I am weird. Quietly, without realising it that is how I have come to view it - I need God because I am weak. 

Of course, religion can and often is used as a coping strategy. Leading psychologists of religion, like Kenneth Pargament, have made entire careers out of studying this phenomenon. For several decades, he and his collaborators have demonstrated pretty conclusively that people use religion and spirituality as potent sources of coping with the pain of life. From this perspective, religious conversion can be viewed as a transformation of significance. When the things we previously relied on to give us a sense of meaning and stability fail us, when our adjustment to life falls apart and cannot be put back together, we give up trying to conserve what was previously meaningful and instead take a transformative leap toward a new view of what matters to us. When the going gets tough, the tough get going. When the going gets too tough, some people turn to Jesus.  

But there are many ways we can use religion to cope, and over the years Pargament and his collaborators have identified a few of them. Some people defer everything to God, they cope by thinking God will do everything for them, they plead for Him to intervene. Others are self-reliant, they may believe in God, but they don’t expect much from Him; for them prayer is more like therapeutic meditation than anything medically effective. Others cope in a collaborative way. They don’t leave it all to God, nor do they think everything centres on them. They take responsibility for their lives, but view God as a companion, a collaborator, a conversation partner through all the vicissitudes of life.  

It probably comes as no surprise that in studies of religious people dealing with chronic illness, these styles of coping significantly predict prognosis over time. There are many ways it can help us, and some of them are more admirable and effective than others. Those who leave it all to God usually do worse, those who think it’s all down to them do better, and those who pray and take the pills do best. Coping with a painful and bewildering world is undoubtedly one of the benefits of religious belief. It’s one of the things it does for us, but it is not what religion is at core. It may be a function of belief but not its essence.  

That first intimation of divine presence... It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. 

As a twelve-year old boy, lurking at the back of an old Methodist church, waiting in silence for the possibility of something sacred to be unconcealed, I was not the kind of child anyone at school would ever admire: lonely, bullied, ignored. Relegated to the corner of the playground reserved for the outcasts and untouchables, the overly sensitive gay kid, the boorish tractor enthusiast, and the Dungeons and Dragons players. When I revisit the moment of my first truly transcendent and mystical experience of God, it’s tempting to write it off as an imaginative invention designed to anaesthetise the pain of social exclusion. I needed it to be true, so I made it up.  

Yet there is more to it than that. That first intimation of divine presence was the beginning of a lifelong quest to experience more. It was the teaser trailer of a movie I was yet to see. A tiny taster from an infinite menu. And in the years that followed I pursued it. To begin with, that strange sense of presence was elusive. I couldn’t generate it under my own steam but ran across it every few months, in a small group, a church service, a prayer meeting, a piece of music. Over time the frequency increased, as I learned patterns of prayer and spiritual practice. Eventually, decades later, it stabilised into an almost daily occurrence. I discovered the western mystical tradition, a historical lineage that made sense of what I was sensing, and to which I could belong. I made myself at home with Augustine of Hippo, Julian of Norwich, Ignatius of Loyola, Teresa of Avila, John of the Cross, Thomas Merton. My new extended family was large and varied. They became my friends and spiritual guides. I had a history. 

When I think of the creatives I know, the artists, writers, actors, and musicians I have spent time with, I notice that for many of them their art is a response to the tragedy of life. But I rarely judge their work on the loneliness and pain that drives their compulsion to create. All too often it is the aching that lingers just under the surface of their work that makes it poignant and affecting. It is not just the beauty of what they create that moves me to tears, it’s the heartbreak out of which it is composed.  

My spiritual journey seems somewhat similar, a creative enterprise launched and sustained by a new insight into the nature of the world. Faith is more like a new way of seeing, than a new set of propositions to believe. If I’d been happy and fitted seamlessly into the fabric of social life, I doubt I’d have been open to the experience or able to recognise it when it occurred. But just as we might hesitate to reduce an artist’s work to little more than psychological self-help, I find myself increasingly reluctant to view my spiritual history as just an expression of my own neurosis. There is another way to tell the story, one that emphasises not so much the problems that drove me to God, but the presence that drew me to Him. There is more to the story than my own neediness and, in the final analysis, when the zombie apocalypse comes, at least I have retained sufficient sanity to avoid the guy with the Bible. 

Review
Culture
Film & TV
Politics
War & peace
6 min read

Bonhoeffer: how to rouse a deaf world to moral action

Comparing today to the past is risky, a new biopic helps us do it well.

Theodore is author of the historical fiction series The Wanderer Chronicles.

A man dressed in 1930s clothing, sits with others at a table looking pensive.
Angel Studios.

Historical analogies are a dangerous, and often inaccurate, way of interpreting the times in which we live. “This is just like that” has a habit of making us react and respond to “that” - which we think we understand so well - when really, we should be taking time to appreciate the nuances of the problems which “this” uniquely poses us now. 

That said, I don’t suppose ever, in the last 80 years, have analogies abounded in our media with such ubiquity that we find ourselves in a historical moment facing similar threats to our freedoms and way of life to those arising across Europe in the 1930s.  

Thus, the movie Bonhoeffer, Todd Komarnicki’s fantastic new biopic of the dissident German theologian and Christian martyr, appears to come at an opportune moment in our culture. 

As writer and director of this two-hour-long epic, Komarnicki’s admiration for his subject shines through like a faithful sun breaking through an overcast sky. And whether you are a Christian or not, there is undoubtedly much to admire in Dietrich Bonhoeffer’s life and the way he lived it. 

It's a story worth hearing - which, given its Christian overtones, still has the power to break out of the boundaries of Christian sub-culture to a wider audience, with its message of courage in the face of overbearing evil.  

Born in 1906, Bonhoeffer was still a young man when Hitler and his newly formed Nazi party rose to power. He trained as a Lutheran pastor, was an accomplished theologian, and became a key founding member of the Confessing Church – the remnant of the German church who did their best to withstand Hitler’s ideological take-over. (For which, many paid with their lives.) By the early 1930s, Bonhoeffer had already perceived the dangers which few others in the German church seemed able to see or else willing to call out. And after abandoning a short stint of study in the US, he returned to his native Germany to do what he could to call the church back to herself before it was too late. No easy task. 

x

A close up of a 1930s man wearing wire-rimmed glasses, looking pensive.
Dietrich Bonhoeffer (colourised).

One existing photograph of Bonhoeffer shows a young, earnest face in steel-rimmed glasses, an expression of wisdom beyond his years weighing heavy on his brow. But for all the seriousness of his situation, he was, by Komarnicki’s account, an ebullient character. Persuasive, playful and able to find joy even in the darkest of times.  

In Bonhoeffer, he is played brilliantly by Jonas Dassler, a native German actor who brings an intensity and intelligence to the role which must be a fair reflection of the man himself, as well as allowing room for a levity of spirit, especially in his friendships and family ties.  

There’s a scene early in the film, foreshadowing much that was to come. Dietrich the boy plays the Moonlight Sonata at his older brother Walter’s funeral wake. The piece was Walter’s favourite, but none of the mourners pay the slightest attention. Dietrich slams the piano shut and runs off in frustration. “No one listened,” he tearfully complains to his mother. “No one cared.” This theme of rousing a deaf or unfeeling world to moral action runs through the whole movie. 

We can all agree that Bonhoeffer is a man to emulate in our own times. The question is where would his instincts lie in the political and cultural landscape of today. 

Komarnicki has done a solid job unfolding Germany’s inexorable descent into darkness, often marking key moments as Bonhoeffer the man makes his stand against the state with actual quotations from his work. The most famous serves as the movie’s strapline:

“Silence in the face of evil is itself evil. Not to speak is to speak.” 

The script is peppered with such exhortations, which seems directed as much to the audience of today as they do to Bonhoeffer’s own, eighty-or-ninety-odd years ago. Such injunctions seem all the more arresting as Bonhoeffer’s story pursues its arc from pastor to martyr, and the noose awaiting him at Buchenwald concentration camp just days before Germany’s final capitulation.  

It is no doubt hard to frame a movie around the moral courage and conscientious stand of a single man, however admirable that man may be, particularly when so much of the struggle is happening inside his own head. Perhaps that is why much of the less historically accurate material has been included. The thriller subplot – of Bonhoeffer’s involvement in a plot to assassinate Hitler – brings some necessary forward propulsion to the story, but seems the least congruent with what we know of the man. Much of this more thrusting narrative is intercut with scenes of Bonhoeffer’s last days before his execution, the wrestling with his faith and his fate, before a final resolution of peace, even joy in his final moments. “Eternity, eternity, eternity,” he murmurs. A word he used to repeat endlessly with his twin sister as they whiled away the time smoking cigarettes. But a word which ultimately gives him the focus and the spiritual strength to hold his courage to the end. Although slower, these provide a more convincing and compelling portrait of a man who deserves to be remembered as a hero, not only of his own age, but of any age where evil is determined to silence truth at any cost. 

As a modern audience, this is where the hazard lies. To return to my original point, it is all too easy to tar one’s political or cultural opponents with the label of “fascist” or “Nazi” – merely because they happen to disagree with you. (And sadly I’ve seen this done by otherwise mild-mannered English theologians over this very film.) Some have said this is akin to shunning another child in the playground because they have “cooties”. It’s over-simplistic and facile. If anything, it reveals the casual propagandising of a suggestible mind. 

Few would watch this film and associate themselves with its antagonist (Hitler) over its heroic protagonist. We can all agree that Bonhoeffer is a man to emulate in our own times. The question is where would his instincts lie in the political and cultural landscape of today. 

Jesus had harsh words to say to the pharisees and scribes who build tombs for the prophets and decorate the monuments of the righteous. “You say, ‘If we had lived in the days of our fathers, we would not have been partners with them in shedding the blood of the prophets.’” 

How easy it is to assume we would have been on Bonhoeffer’s team.  

And this is my one criticism of the film: its portrayal of the bishops and clergy who did succumb to Hitler’s ideology seems too blunt-edged. They rail from the pulpit in the manner of the Fuhrer himself, marking them as ravening ideologues; they bark out Party platitudes, red in the face. I imagine the reality of how Nazi ideology infiltrated and captured the church – as it did many other institutions – was far more subtle, far more insinuating and insidious. More boiled frog than scalded cat. 

So it surely is in our day. While National Socialism has passed away, the totalitarian instinct which animated it has sadly not. My prayer is that we have the wisdom, courage, and above all discernment, to learn Bonhoeffer’s lesson and pass the tests of our time. 

Komarnicki’s excellent movie may just help us to do that. 

 

Bonhoeffer is out in UK and Irish cinemas from 7th March 2025. For more information and to book tickets visit the film's site.

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