The Theology of Cinema: Conversion
A character transforming from their Old Self into a New Self is a narrative arc we see time and time again, a kind of “conversion” empowered by a Need which is awakened within their psyche which redefines who they are.
As many of you may know, I have a background in the academic study of theology, a B.A. in religious studies from the University of Virginia and a Masters of Divinity degree from Yale. So it is only natural I bring that perspective to how I view and understand movies and screenwriting.
Let me be clear, when I say theological, I mean it — in this context — in a secular way. How does that make sense?
The word “theology” is a combination of two Greek words: “theos” which means God and “logos” which means word. So theology is words about God. What if for this series we think of God as a metaphor for an explanation for the big questions of life? Thus, theology as words about the meaning of life. Broadly speaking that is one dynamic movies hit on consistently, characters forced to confront their values, behaviors, and world views related to who they are and how they should act.
In this respect, movies and theology wade in very much the same thematic waters. As Andrew Stanton noted about Lawrence of Arabia in this TED Talk, how the central theme of that story is the question asked of the Protagonist “who are you,” that issue exists at the core of perhaps every movie, an existential exploration of a character or characters’ self-identity. So, too, with theology.
Also, movies tend to be about characters at critical junctures in their lives, facing a journey from the Old World into a New World where through a series of challenges and lessons they undergo a significant metamorphosis. Sounds an awful lot like a conversion experience to me.
Thus, it is only natural there will be a lot of crossover of theological themes in movies. But while a theological theme in a movie may have a religious or spiritual connotation, I am more interested in exploring such themes metaphorically to find the widest value possible for screenwriters at large.
By working with this non-religious take on the concept, we can avail ourselves of numerous powerful theological themes in screenwriting regardless of whether our stories are secular or non-secular.
Today: Conversion.
In theological terms conversion refers to a turning away from an unregenerate lifestyle and toward one of godliness. When a person has a conversion experience, that marks a spiritual shift from sinfulness to righteousness.
A Biblical example is the Apostle Paul who “intensely… persecuted the church of God and tried to destroy it” [Galatians 1:13], but then on the road to Damascus, described in the Acts of the Apostles [Chapter 9], Paul was blinded by a supernatural light, literally knocked off his horse, and subsequently became a follower who preached the Gospel especially to the Gentiles.
Conversion can also mean a “change of attitude, emotion, or viewpoint,” and that speaks to a dynamic common to most every movie: A Protagonist going through a personal metamorphosis.
In real life, change can take place in many ways, often over the course of years. Obviously, movies don’t have the benefit of that much time, a character generally going through a substantive change in two hours of screen time or less. They may not be knocked off a horse and changed within a few days time. It is, however, interesting to think of a Protagonist’s transformation — in a compressed time — as being something like a conversion.
Conversion from what to what? Whereas a traditional understanding of conversion involves a person committing themselves to God, an act of putting one’s faith in something outside their Self, more frequently in movies metamorphosis involves a character getting in touch with something of their authentic nature — God within, if you will — then embracing that as the basis of their change. This presents an interesting way to think of the question we always ask of our Protagonist character: What do they need? What they really need is for that most foundational aspect of their true nature to emerge into the light of consciousness and embrace it, thus, redefining their sense of self.
- The Shawshank Redemption: Red ‘converts’ from the influence of institutionalization by embracing the tiny flicker of hope that Andy managed to keep alive for two decades. Indeed, the final words of the movie are Red’s: “I hope.”
- It’s A Wonderful Life: George ‘converts’ from a belief he has done nothing substantive with his life, one that leads him to despair, bitterness, even thoughts of suicide, to an understanding of how enormously influential his deeds have been to the community of Bedford Falls, that in fact he is “the richest man in town.”
- Casablanca: Rick ‘converts’ from cynicism to idealism, reflected in his selfless act of allowing Ilse to use the letters of transit to leave with Victor Laszlo.
- Schindler’s List: Oskar ‘converts’ from a businessman solely focused on money and profits to a man who risks his life to save 1100 imprisoned Jews.
In some cases, the conversion involves the character accepting their destiny as the Chosen One.
- The Matrix: Neo ‘converts’ from a relatively unknown computer hacker into the leader of a rebel force.
- Star Wars: Episode IV — A New Hope: Luke ‘converts’ from a lonely moisture farmer on the edge of the galaxy into the leader of the Rebel Alliance.
- The Lord of the Rings: Frodo ‘converts’ from humble hobbit to the ring-bearer who plays a central role in the destruction of the One Ring To Rule Them All.
In many cases, the conversion is not something of Earth-shattering significance, but personally important.
- The Wizard of Oz: Dorothy ‘converts’ from an orphan who doesn’t feel welcome on that Kansas farm into someone who can claim, “There’s no place like home.”
- Bridesmaids: Annie ‘converts’ from a juvenile view of romance to one grounded in reality and accepting herself for who she is, not trying to be someone else.
- The Apartment: Baxter ‘converts’ from a person who esteems corporate success over personal morals into a “mensch.”
Note that every single one of these “conversion” experiences involves the Protagonist getting in touch with some fundamental aspect of their authentic nature and it’s that need which acts as the basis of their change from an Old Self into a New Self.
As the poet E.E. Cummings wrote, “It takes courage to grow up and become who you really are.”
A character transforming from their Old Self into a New Self is a narrative arc we see time and time again, a kind of ‘conversion’ empowered by a Need which is awakened within their psyche which redefines who they are.
Takeaway: Consider the Protagonist in the story you are currently writing. Where do they begin their psychological journey, the nature of their Old Self? What of their true nature needs to be awakened to spur their ‘conversion’ into a New Self?
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