The Apostle

A man pulls over at the scene of an accident. As the police take notes, the man grabs his Bible and crosses the road into a field where one of the cars sits in a mangled heap. As the man gets closer, he notices a teenage boy and girl lying in the vehicle - both motionless with blood on the dash. The man lays his Bible on the roof of the car, and asks the boy if he‘d like to accept Jesus into his heart. The boy nods slowly. The man leads Him in a prayer. A police officer arrives and shoos the man away, and the boy - with blood streaming down his forehead - softly mumbles “thank you.”

Thanks for watching TBN? Not so fast. As religious as this scene might sound, the movie it appears in wasn’t manufactured by a Christian studio. In fact, in many respects, it doesn’t fit the definition of “Christian cinema” at all. Direct from Hollywood, formed by the hands of secular artists, containing a fair measure of profanity and violence - this isn’t a Christian film. This is what Christian films should be. Say hello to The Apostle. Preachy writing and direction are nowhere to be found. A gospel message doesn’t play at the end of the credits. And the writer, director, and star isn’t Kirk Cameron - it’s Robert Duvall. A movie about a Christian that’s also a work of art? Now there’s a novel concept.

Sonny Dewey loves Jesus. Known by most as The Apostle E.F., Sonny travels day and night throughout his native state of Texas proclaiming to anyone that will listen (and some who won’t) that Jesus is the way, the truth, and the life. He dances for joy in front of bilingual congregations, he shouts truth to pastors-to-be behind a mic and podium, and he recites the books of the Bible with his children every time he sees them. Sonny’s love for God is infectious, and wherever he goes, people follow.



But Sonny Dewey is also human. He’s a self-professed womanizer, and a man prone to a violent temper. And here’s where The Apostle differs poignantly from lesser religious fare. The average Christian movie presents a main character in one of two ways: either he is a saint for the film’s duration or he is a sinner who becomes a saint in the end. Duvall knows better. Sonny isn’t a saint or a sinner - he’s both. And the truth is we all are both. The most wicked person on earth is still capable of selfless good; and the most righteous person on earth is still a monster. To portray a character as one or the other is quite simply an artificial version of reality. And that’s why The Apostle stands as one of the most accurate silver screen depictions of a Christian to date.

Yet, there’s more than mere content separating the film from its orthodox counterparts. The level of craftsmanship on display here is miles above most religious material. With The Apostle, Duvall proves himself a multi-faceted filmmaker. Like Clint Eastwood, he prefers efficiency over flash. His shot selection and direction aren’t necessarily arresting, but they get the job done. Where Duvall truly shines as a director, however, is in the memorable performances he coaxes from the cast. Billy Bob Thornton, in particular, makes a lasting impression as a gruff southerner hell-bent on tearing the Apostle’s church down. He may be in only two scenes, but both of them are stand-outs. And in front of the camera, Duvall fares even better. His portrayal of Sonny is nothing short of electrifying. Whether you subscribe to Sonny‘s religion or not, you can‘t help but love him. His energy is contagious, and his passion is inspiring. This performance landed Duvall his fifth Oscar nomination, and is really the cherry on top of an already extraordinary career.



However, I’d be remiss, if I didn’t point out that The Apostle is not a perfect film. One problem is the running time. Clocking in at 2 hours and 14 minutes, the movie feels a bit long. Some trimming near the middle when the Apostle hits the open road would make a leaner, more air-tight cut. But it’s a credit to Duvall’s acting that even in a scene that feels bloated, you still can’t take your eyes off him. My other complaint is a few awkward transitions between scenes that testify to Duvall’s relative inexperience in the director‘s seat. But really, none of these things are deal breakers. They may keep the movie from soaring to the level of masterpiece, but a few aesthetic defects in no way damper the raw power on display.

The fact remains that Duvall has created something truly special in The Apostle. Here is a film that deals frankly with religious characters and Biblical themes, but manages to avoid the didactic pitfalls of standard Christian cinema. Duvall’s intention isn’t to preach, lecture, or save. He wants to present a character - a complicated preacher who loves God with every fiber of his being, but struggles daily to quell the demons lurking within. The word “redemption” has been tossed around a lot in Christian circles. Here’s my definition of the term as it relates to film: redemptive movies depict sinful people who realize the brokenness inside them, and seek transformation in a Biblical truth beyond themselves. The truth doesn’t need to be revealed as Biblical, nor does the film have to be in any way religious. But I think special praise should be given to a movie that does wear its faith on its sleeve without letting artistry or subtlety get lost in the making. And that’s why, for my money, The Apostle is not only an inspiring character study and a great film, it’s also one of the most redemptive movies ever made.

Grade: A-