Secular Religious Fervor & Film

It has been described before, but this article from City Journal captures it in relation to current events wonderfully.

An excerpt.

“Cast your mind back to January 2009, when Barack Obama became the president of the United States amid much rejoicing. The hosannas—covering the inauguration was “the honor of our lifetimes,” said MSNBC anchor Chris Matthews—by then seemed unsurprising. Over the course of a long campaign, hyperbolic rhetoric had become commonplace, so much so that online wags had started calling Obama “the One”—a reference to the spate of recent science-fiction movies, especially The Matrix, that used that term to designate a messiah.

“It all seems so long ago now, as one contemplates President Obama’s plummeting approval ratings and a suddenly resurgent Republican Party. Yet it’s worth looking closely and seriously at the election-year enthusiasm of media elites and other Obamaphiles, much of which was indeed, as the wags recognized, quasi-religious. The surprising fact is that the American Left, for all its claims to being “reality-based” and secular, is often animated by the passions, motivations, and imagery that one normally associates with religion. The better we understand this religious impulse, the better we will understand liberal America’s likely trajectory in the years to come.

“The first signs of the spiritual zeal that would eventually play a significant part in Obama’s election came not from Washington or Chicago but from Hollywood. Our moviemakers are adept at measuring the zeitgeist of the nation—of its liberal half, anyway—and are a powerful force in shaping it. And for more than a decade, they’ve been churning out what critics call “black-angel” movies. These films feature a white protagonist guided to enlightenment by a black character, usually of divine or supernatural origin or, at the very least, in touch with spiritual experiences that the main character lacks. With the black angel’s help, the white hero finds salvation.

“The genre includes, to name just a few, The Legend of Bagger Vance (2000), in which Will Smith—playing a caddie who is really, the film hints, God—restores Matt Damon’s golf game and love life; Bruce Almighty (2003), in which Morgan Freeman, as God, bestows his powers on a manic Jim Carrey; and the awful What Dreams May Come (1998), in which Cuba Gooding, Jr. is a wise soul guiding Robin Williams through the afterlife. These movies have been numerous enough, David Sterritt points out in the Christian Science Monitor, to confuse TV’s buffoonish Homer Simpson: in one episode, “Homer mistook a black man in a white suit for an angelic visitor, all because (according to his embarrassed wife) he’d been seeing too many movies lately.”