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Left
Behind: The Movie, A Theological Review
By
Kendra Haloviak
(From
Spectrum magazine, winter 2001)
Left
Behind: The Movie exhibits the dangers of using Scripture
as a crossword puzzle for last-day events. Based on the first
book in the series of the same name by Tim LaHaye and Jerry
B. Jenkins, the film focuses on the notion of the rapture, which
provides its theological foundation. Through a literal reading
of isolated Bible texts found mostly in the book of Daniel,
screen writers Allan McElroy, Paul LaLonde, and Joe Goodman,
and director Vic Sarin mark the beginning of the final years
of Earth's history with the global disappearance of true Christians.
Those left behind must endure seven years of demonic deception
and brutal persecution. The great tribulation, a type of Protestant
purgatory, is a last chance to gain salvation by being faithful
to God and by resisting the Antichrist. The film's portrayal
of events surrounding the rapture mixes computer game graphics
with images reminiscent of recent violence in Jerusalem and
Gaza.
Although
claiming to be based on a careful, literal reading of Scripture,
this interpretation neglects the basis of New Testament faith:
Jesus Christ. In the film, the life, death, and resurrection
of Jesus are scarcely mentioned. Rapture theology emphasizes
human actions that take place long after Calvary, without making
a critical connection between the cross and the last days. The
rapture and great tribulation are concerned with human actions
instead of the meaning of Jesus' actions on behalf of humanity.
This omission is the film's greatest failure. The omission also
underscores that Left Behind is definitely a film for
the "converted" (defined as evangelical Christians
who believe in the secret rapture). An unbeliever does not stand
a chance; he or she is left in quiet despair and/or disbelief.
Like the film's major characters, viewers who recall Bible study
lessons and sermons from childhood may turn to God in this crisis.
Such viewers are told that each local and global event has been
predicted in Bible prophecies (including "the abomination
of desolation" which, according to an error spoken by the
Rev. Barnes, is found in "Daniel 9, chapter 27").
Perhaps such viewers will become believers, suddenly understanding
some of the most challenging passages in the Bible in a matter
of moments. The rest of us walk away dumbfounded and depressed.
This film does not contain good news.
Instead
of emphasizing Christ, this film, like the book series after
which it is named, is most interested in catastrophe and chaos.
The intriguing characters are those taking temporary control
over humanity during this time of global confusion. War on Israel
by an invasion from the north is miraculously stopped, even
as a Jewish scientist, Chaim Rosenzweig, discovers the answer
to world hunger. He will quickly be manipulated by Nicolae Carpathia,
the Antichrist figure. Supposedly humanitarian in his goals,
Carpathia will end up deceiving the whole world. As air traffic
controllers, pilots, and drivers of trucks and cars disappear,
those left behind must face plunging airplanes and out-of-control
vehicles on the world's highways. Only Carpathia offers a hopeful
future. He states: "people will follow me wherever I lead
them." Before the film is over, Carpathia commits acts
of brutal violence followed by a display of supernatural powers
over the minds of people. Where is God? I first asked that during
scenes immediately following the rapture, as people sat weeping
quietly near the clothing of someone who had been taken. Other
images include dogs trying to find their vanished owners, their
leashes dragging behind on the ground, and parents left behind
holding a child's clothing, toys, or blankets. In the words
of Chloe Steele, a left-behind teenager, "what could be
worse than this?" I kept thinking: What picture of God
could be worse than this?
The
film's interpretation of prophecy completely ignores the social
contexts in which the prophecy's words were first spoken and
written. Equally ignored are the meanings of symbols in early
and later apocalyptic writings. Literal readings are misreadings.
Numbers, creatures, and nations convey particular ideas in apocalyptic
literature. By quickly transporting the symbols from the time
of most apocalyptic writings (B.C.E. 200 to 200 C.E.) to contemporary
contexts, interpreters miss much of the relevance initially
intended.
My
favorite scene in the film takes place in a small church in
Chicago. The Rev. Barnes, who has been left behind, admits that
"knowing and believing are two different things."
He falls on his knees before the altar in the sanctuary and
pleads with the Lord to use him to reach others. Walking into
the sanctuary behind him is Rayford Steele, one of the main
characters in the story. Rayford had previously resisted the
faith of his wife and son, and has just discovered their empty
clothing. As the Rev. Barnes says the words, "Lord, please
use me," Rayford responds from the back of the church,
"He already has." The Rev. Barnes kneeling before
the altar portrays true Christianity as humble. In contrast,
most of the film professes to know all the answers. (A link
from the movie's official Web site suggests, while playing the
song "I'll Fly Away" and showing pictures of people
flying to heaven out of the earth and sea, that here can be
found true answers for anyone left behind after the secret rapture.)
I
kept being grateful that my own denomination, although far too
close for comfort at times to the film's theology, resists the
film's premise: that humanity will experience the secret rapture
prior to the great tribulation and return of Jesus Christ to
Earth. Seventh-day Adventism offers alternative interpretations
to the rapture. When Adventism proclaims that victory was already
won at the cross, it avoids a theology that diminishes Christ.
When Adventism shares a picture of a gracious God, evil forces
diminish; God's victory far outweighs the power of evil. When
Adventism takes Bible study seriously, the wonder of apocalyptic
literature, symbolic language, and the social contexts of Revelation
are explored.
©
2001 Spectrum/AAF
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