Hollywood history is rife with examples of literary works that by dint of problematic sexual, violent or religious content have been softened to varying degrees to mollify public sensibilities. So it appears to be with "The Golden Compass" (New Line) which, we'll say right at the start, is a lavish, well-acted and fast-paced adaptation of "Northern Lights," the original title of the first volume of Philip Pullman's trilogy, "His Dark Materials."
The good news is that the first book's explicit references to this church have been completely excised with only the term Magisterium retained. The choice is still a bit unfortunate, as the word refers so specifically to the church's teaching authority. Yet the film's only clue that the Magisterium is a religious body comes in the form of the icons which decorate one of their local headquarters.
Most moviegoers with no foreknowledge of the books or Pullman's personal belief system will scarcely be aware of religious connotations, and can approach the movie as a pure fantasy-adventure. This is not the blatant real-world anti-Catholicism of, say, the recent "Elizabeth: The Golden Age" or "The Da Vinci Code." Religious elements, as such, are practically nil.
Even if Pullman's fanciful universe has a patchwork feel, there's hardly a dull moment, and the effects are beautifully realized, including the anthropomorphized creatures like the polar bears whose climactic fight is superbly done. Whatever author Pullman's putative motives in writing the story, writer-director Chris Weitz's film, taken purely on its own cinematic terms, can be viewed as an exciting adventure story with, at its core, a traditional struggle between good and evil, and a generalized rejection of authoritarianism.
To the extent, moreover, that Lyra and her allies are taking a stand on behalf of free will in opposition to the coercive force of the Magisterium, they are of course acting entirely in harmony with Catholic teaching. The heroism and self-sacrifice that they demonstrate provide appropriate moral lessons for viewers.
There is, admittedly, a spirit of rebellion and stark individualism pervading the story. Lyra is continually drawn to characters who reject authority in favor of doing as they please. Equally, only by defying the powers that be, can a scientist like Lord Asriel achieve progress. Pullman is perhaps drawing parallels to the Catholic Church's restrictive stance towards the early alchemists and, later, Galileo.
Is Pullman trying to undermine anyone's belief in God? Leaving the books aside, and focusing on what has ended up on-screen, the script can reasonably be interpreted in the broadest sense as an appeal against the abuse of political power.
Will seeing this film inspire teens to read the books, which many have found problematic? Rather than banning the movie or books, parents might instead take the opportunity to talk through any thorny philosophical issues with their teens. For now, this film --- altered, as it is, from its source material --- rates as intelligent and well-crafted entertainment.
Because of intense but bloodless fantasy violence, anti-clerical subtext, standard genre occult elements, a character born out of wedlock and a whiskey-guzzling bear, the USCCB Office for Film & Broadcasting classification is A-II (adults and adolescents). The Motion Picture Association of America rating is PG-13 (parents strongly cautioned). Harry Forbes and John Mulderig are reviewers with the USCCB Office of Film and Broadcasting. |