My Name is Bernadette

The film, My Name is Bernadette (2011), focuses, almost as an obsession, on the question of whether the girl “actually” saw the Virgin Mary in a series of visions at Lourdes. All too often, miracles are treated as ends in themselves, rather than as pointers to something deeper. Even the girl in the visual and auditory (albeit only to Bernadette) apparition identified itself only in terms of a supernatural miracle, the Virgin Mary’s Immaculate Conception. I contend that Bernadette’s awe-inspiring spirituality visually conveyed on screen, and Monsignor Forcade’s spiritually-insightful advice to Bernadette as to her functions in her upcoming life as a nun is more important than the miracles, even from the standpoint of religion. In other words, the story-world of the film, which is based on the true story of Bernadette at Lourdes, is a good illustration of a what happens when everyone in a large group of people reduces religion to science and even metaphysics and misses the sui generis (i.e., unique) and core elements of religion. Such is the power of group-think that conflation of different, albeit related, domains of human experience can remain hidden in a societal blind-spot. Not even the film makes this blind-spot transparent.

The full essay is at "My Name Is Bernadette."

The Holy Grail: Artifact or Superstition?

Relics are nothing new to religion, whose legitimacy used to be synonymous with being ancient, which is one reason why the ancient Romans did not consider the nascent Jesus Movement to be a religion. The cup that Jesus uses in the Last Supper in Gospels is right up there with pieces of the wood cross of the Crucifixion as the most holy of relics in Christianity. “In Europe alone, there are said to be around 200 cups, each thought to be the Holy Grail—the cup used by Jesus Christ at the Last Supper.”[1] They can’t all be THE cup, but I bet if you visited each place, the partisans would insist that their cup is genuine. For example, the website of the cathedral at Valencia, in eastern Spain, proclaims regarding the cup there, “Tradition reveals that it is the same cup that the Lord used at the Last Supper for the Institution of the Eucharist.”[2] Never mind that medieval legend had it that Joseph of Arimathea had brought the Holy Grail near Glastonbury Tor in southern England shortly after Jesus’ death. That would be quite a distance to travel back them to deliver a cup. These two cannot both be right, yet Christians have prayed in both places as if the cup in each place were genuine. That people have gotten carried away with the super relic through history seems clear from “the fact that, over the centuries, legends have arisen of ‘grails’ producing miracles.”[3] That miracles have been said to arise from more than one of the cups ought to be a red flag that something is amiss, for only one cup could possibly be genuine and so miracles could not have come by means of proximity to the other cups. I submit that basic category mistakes regarding genres of meaning (and writing) are a big part of the problem as to why a presumed historical artifact has given rise to puerile superstition in the name of religious truth.

The full essay is at "The Holy Grail."

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1. Julia Buckley, “They All Say They’ve Got the Holy Grail. So Who’s Right?” CNN.com, August 17, 2024.
2. Ibid.
3. Ibid.

Fatima: The Miracle of the Sun

The film, Fatima (2020), tells the story of the three Roman Catholic children in Fatima, Portugal, who in 2017 claimed to see and hear the Virgin Mary periodically over a period of 6 months. The film centers around Lucia, the oldest of the three children, and, moreover, the question of whether the children really encounter the Virgin, or are lying, hypnotic, or even psychotic. In the film, as well as in “real life,” a miracle is associated with the last visitation. In the story world of the film, the visitation really happens, and the multitudes watching the children come to believe this when the Virgin delivers on a miracle as promised. Historically, believers as well as nonbelievers who were present at the event have testified that the Sun moved around in the sky and even came closer. If this really happened as witnesses have described, then the empirical “proof” in the story world of the film is not the whole story, and the religious truth therein is not limited to the faith narrative, but holds in an empirical, supernatural sense. An implication is that Jesus not only resurrects in the Gospel stories, but also as an empirical event in history. But, then, why have such supernatural events been so rare since the “time” of Jesus?  And, yet, witnesses as far as 40 km away from the visitation of the Virgin reported seeing the miracle of the Sun.

The full essay is at: "Fatima"

Miracles as a Literary Device

The Greatest Story Ever Told (1965) is known for being the first Hollywood movie in which the face of Jesus is shown. From the standpoint of the next century, the scandal in showing Jesus could only seem antiquated, if not outright silly. Rarely can such perspective on a scandal exist as it is occurring. In its own time, a scandal seems all-important and critically in need of being addressed lest life as we know it would otherwise come to an end. Ten years earlier, Nikos Kazantzakis' novel, The Last Temptation of Christ, had also been controversial, as was the 1988 film of the same name (and based on the novel) because Jesus imagines himself in the sexual act and he may struggle with mental illness. This scandal was more serious than was that which greeted The Greatest Story Ever Told even though the Jesus of Last Temptation ends up rejecting the temptation to avoid the cross and is thus faithful to his Father in the end. The viewer is left, however, without a decisive answer as to whether the film's Jesus suffers from mental fits because the film ends with Jesus dying on the cross. The theological validation of Jesus is made in Greatest Story, though curiously not chiefly in the usual way this is done in narratives about him. I submit that this deviation makes the film highly significant in that it emphasizes religious experience as a reaction.  

The full essay is at "The Greatest Story Ever Told."