- Sep 22, 2013
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The controversial but searing religion-themed films, Agnes of God (Norman Jewison) and The Ninth Gate (Roman Polanski) present very contrasting notions about the 'experience' of metaphysics/spirituality.
The Jewison film presents the moving if unusual story of an emotionally-sensitive Christian nun named Agnes (Meg Tilly) who is being interviewed by a world-savvy skeptic psychiatrist named Martha (Jane Fonda) after Agnes is accused of carrying out an abortion. Agnes confides in Martha that she believes she was impregnated by God during a surprising 'conjugal' divination 'visit' and does not want the burden of raising the God-borne child on Earth.
The Polanski film presents the cerebral if incendiary story of an unscrupulous rare-books dealer named Dean (Johnny Depp) who is employed by an esoteric wealthy man and scholar named Boris (Frank Langella) to hunt down the whereabouts of a missing rare Satanic book in a triad-collection rumored to possess the power to invoke the presence of the Devil himself. Dean sets out on his strange but well-paying quest and begins to discover that the book he is searching for just might wield the sort of odd metaphysical power his eccentric employer claims it possesses!
Both the Jewison and the Polanski film introduce us to the intriguing experience of 'discovering' religious (or metaphysical) experience through the skepticism obstacles/hurdles of impracticality, improbability, and of course, impatience.
The Jewison film of course suggests that 'encountering' God might bring us to the discovery that a 'heavenly Creator' might turn out to be overwhelmingly authoritative and emotionally exhausting, while the Polanski film suggests that 'engaging' with the Devil might bring a human being to strange and even dangerous contemplations regarding the moral temptation to defy the limits of known mortality.
Agnes of God is very sensitive, spiritual, and sensual, while The Ninth Gate is very eccentric, erotic, and even ethereal.
Both films are very engaging in terms of artistic weight, symbolic credence, and intellectual fancy, and certainly mainstream Christian communities might frown upon the incendiary notions presented in the Polanski film.
That's why I would award both 'religion-themed' films a solid 4/5 stars, if I afforded, say a much more celebrated religion-themed film such as William Wyler's Ben-Hur 5/5 stars.
It is interesting to note that Jewison's Christianity-oriented film invites general criticism for the orthodox dogmas of Christianity, while Polanski's Occultism-oriented film subtly suggests that Satanism as a religion has been predominantly 'disregarded' by cursory scholars and societies.
I'd be greatly interested in further scholastic dissections comparing/contrasting these two symbolic films in cinema history.
Both Jewison and Polanski are established and well-respected film-makers of the modern era, having even presented generally well-received films such as Fiddler on the Roof (an important Jewison film for the Jewish community) and Frantic (an important Polanski film for the suspense-welcoming general movie-going audiences) prior to making Agnes of God and The Ninth Gate.
{comparative interpretation dialogue}
====
AGNES: I don't want an 'undue blessing' from God.
MARTHA: Agnes, maybe 'God' simply wants you to feel 'friendly.'
AGNES: I fear my hesitancy to embrace God makes me seem 'timid.'
MARTHA: I think we can 'decode' God's plan for you, Agnes...
DEAN: So you're willing to pay me to retrieve a Satanic text?
BORIS: I think you understand the lengths which I'm willing to go to in order to procure the magic...
DEAN: I suppose you're offended by my skepticism.
BORIS: All I need is a 'mercenary,' not a critic!
====
The Jewison film presents the moving if unusual story of an emotionally-sensitive Christian nun named Agnes (Meg Tilly) who is being interviewed by a world-savvy skeptic psychiatrist named Martha (Jane Fonda) after Agnes is accused of carrying out an abortion. Agnes confides in Martha that she believes she was impregnated by God during a surprising 'conjugal' divination 'visit' and does not want the burden of raising the God-borne child on Earth.
The Polanski film presents the cerebral if incendiary story of an unscrupulous rare-books dealer named Dean (Johnny Depp) who is employed by an esoteric wealthy man and scholar named Boris (Frank Langella) to hunt down the whereabouts of a missing rare Satanic book in a triad-collection rumored to possess the power to invoke the presence of the Devil himself. Dean sets out on his strange but well-paying quest and begins to discover that the book he is searching for just might wield the sort of odd metaphysical power his eccentric employer claims it possesses!
Both the Jewison and the Polanski film introduce us to the intriguing experience of 'discovering' religious (or metaphysical) experience through the skepticism obstacles/hurdles of impracticality, improbability, and of course, impatience.
The Jewison film of course suggests that 'encountering' God might bring us to the discovery that a 'heavenly Creator' might turn out to be overwhelmingly authoritative and emotionally exhausting, while the Polanski film suggests that 'engaging' with the Devil might bring a human being to strange and even dangerous contemplations regarding the moral temptation to defy the limits of known mortality.
Agnes of God is very sensitive, spiritual, and sensual, while The Ninth Gate is very eccentric, erotic, and even ethereal.
Both films are very engaging in terms of artistic weight, symbolic credence, and intellectual fancy, and certainly mainstream Christian communities might frown upon the incendiary notions presented in the Polanski film.
That's why I would award both 'religion-themed' films a solid 4/5 stars, if I afforded, say a much more celebrated religion-themed film such as William Wyler's Ben-Hur 5/5 stars.
It is interesting to note that Jewison's Christianity-oriented film invites general criticism for the orthodox dogmas of Christianity, while Polanski's Occultism-oriented film subtly suggests that Satanism as a religion has been predominantly 'disregarded' by cursory scholars and societies.
I'd be greatly interested in further scholastic dissections comparing/contrasting these two symbolic films in cinema history.
Both Jewison and Polanski are established and well-respected film-makers of the modern era, having even presented generally well-received films such as Fiddler on the Roof (an important Jewison film for the Jewish community) and Frantic (an important Polanski film for the suspense-welcoming general movie-going audiences) prior to making Agnes of God and The Ninth Gate.
{comparative interpretation dialogue}
====
AGNES: I don't want an 'undue blessing' from God.
MARTHA: Agnes, maybe 'God' simply wants you to feel 'friendly.'
AGNES: I fear my hesitancy to embrace God makes me seem 'timid.'
MARTHA: I think we can 'decode' God's plan for you, Agnes...
DEAN: So you're willing to pay me to retrieve a Satanic text?
BORIS: I think you understand the lengths which I'm willing to go to in order to procure the magic...
DEAN: I suppose you're offended by my skepticism.
BORIS: All I need is a 'mercenary,' not a critic!
====
