Now that ministers are bemoaning the smallness of their congregations,
and declaring that the flock has gone astray, wondering how to account
for the fact that modern-day religious opinions have changed, and in
some cases, warped; that they no longer come to hear good sermons and
music, that the collections are mean; that their social functions
are unattended--they ask themselves, “What is wrong, and what is the
remedy?”
The cinema has been tried in the church to evoke that enthusiasm
now dormant. In America it has met with huge success and is being
recommended by the clerical body throughout that country as a means
of reviving lost interest. Ministers’ sermons have brought to life
the actual characters; there seems to be a new atmosphere within the
sacred precincts, and the churches are not large enough to hold the
congregations. The sermons are more lucidly expounded, the attention of
the congregation is held, no stentorian snores reverberate through the
church, there is no coughing or impatient moving of feet or imperfect
sneezing; and even the child with its contribution in its pocket keeps
it there without dropping it on the floor. Such rapt attention has
been evoked by the film entitled “Creation.” This Italian production
presents the history of the Old Testament in pictorial form. The film
begins with Creation and closes with the reign of King Solomon, the
total length is 30,000 feet, and it is in twenty-two chapters.
Could one see a more realistic film than the actual creation of the
world, the birth of Christ in the manger, His movements amongst the
people, the healing of the sick, the restoration of sight to the blind,
the lame made to walk, His successes and failures, His friends and
His enemies, and the conversion of His disciples, His last supper,
crucifixion and final resurrection?
No minister need appeal for a more stirring picture, a better
demonstration than this; his sermons would be more explicit and
better understood. Films could be created to suit every sermon, or
sermons could be worded to suit the picture chosen, and to one versed
in theology, notes would be unnecessary. Enthusiasm would grip the
preacher as the film rolled on, and words would come easily and
spontaneously.
A new picture just “released” in Sweden would do well in this
direction, the title of which is “Thy soul shall bear witness.” It is a
sermon in pictures, more graphically described than by any pen; and is
beautifully told and accurately expressed.
The story is of an outcast waiting in a graveyard for the New Year to
dawn, in order that he and his comrades may drink a curse to the months
that are to come. A young social worker on her deathbed is calling for
him, but he ignores the call. Even his friends are disgusted with his
behaviour as he tells them the legend of the cart of death which drives
everywhere and collects the souls of the dead, the driver being the man
who has died on New Year’s Day. He falls under the spell of a social
worker who battles to save his soul, and to restore him to his constant
and faithful wife. He finally awakens, to find it a horrible dream and
that he has slept in the churchyard. Other items enter the story, but
the impression left behind remains, leaving the moral intended.