God in the grime of life

Some may disagree, but I don’t believe there is, or even should be, such a thing as a Christian film, especially if by labelling a film ‘Christian’ we mean to create a sub-genre of film that contains some special spiritual or moral attribute whilst ignoring its artistic quality.

But I do believe that there are films that tell stories which flow out of the gospel narrative of creation-fall-redemption. And in that respect, I commend to you Rosalind Ross’s directorial debut, Father Stu, as an absorbing and emotionally engaging film which centres around a the very human experiences of disappointment, fatherlessness, suffering, forgiveness and faith. It also includes one of the best cameos by a Jesus-like character that I have seen in a long while.

Mark Wahlberg stars in the title role of this ‘based on a true story’ biopic of Stuart Long, a foul-mouthed, washed-up amateur boxer and bit-part actor who falls for Carmen (Teresa Ruiz), a beautiful Hispanic woman he meets while serving at the meat-counter in a Los Angeles supermarket.

Stuart discovers she is a Catholic who would never consider dating an unbeliever but, determined to win her heart, he agrees to attend Catechism classes. Fellow parishioners are horrified to find a ‘real sinner’ in their midst, but Stuart perseveres and is eventually baptised. Yet it is only when he is almost killed in a motorcycle accident that his faith becomes a deeper reality and Stuart begins to wonder if this second chance at life is meant to be used to help others also find hope and healing in the love of God. Much to his surprise, and Carmen’s disappointment, this culminates in a calling to the priesthood. Despite initial rejection by the seminary Principal (Malcolm McDowell), Stuart is eventually accepted to train as a priest, only to be diagnosed a few years later with an incurable muscle disorder which causes progressive paralysis and will end in certain death.

Wahlberg’s acting is superb throughout. He obviously identifies with the main character, having himself had a troubled childhood which included a short spell in jail for assault, before becoming a committed Catholic who now goes to church for 10–15 minutes every morning to pray. He not only put several million dollars of his own money into the project but also gained over 13kg in weight by eating 11,000 calories a day in order to realistically portray the wheelchair-bound Father Stu.

At times the film runs the risk of repeating the cliched formula of a downtrodden hero who overcomes rejection to follow his dreams. But this is far outweighed by Ross’s direction and script, which are at their best when they open small windows into the hurts of the past, leaving the viewer to piece together what went wrong in the dysfunctional triangle of pain that surrounds Stuart’s relationship with his alcoholic father (a grizzled Mel Gibson) and doting but inadequate mother (Jacki Weaver). Ross also does a good job of leavening the film’s serious subject matter with an excellent soundtrack by Dickon Hinchliffe and many moments of real humour. When Stuart tells his hung-over father he will pray for him, Gibson yells: ‘Don’t you dare! You’re violating my rights as a man and as an American!’

What I appreciated most about this film was the way it acknowledged the reality of the supernatural. This is not a story of man who pulls himself up by his own bootstraps or is redeemed by the love of a good woman, but rather a fighter who is pulled punching and swearing towards faith by a love that goes beyond this world (be prepared for a fair amount of bad language). And then there is the theophany of a mysterious Jesus-like barfly who meets a drunk Stuart just before his near-fatal accident. With unkempt hair, scarred hands and face, he speaks more truth than Stuart ever would have accepted from a priest. What Father Stu does well is remind us that Christian faith isn’t about being a cookie-cutter Christian singing hymns in a church pew. Rather faith is a messy business based in the grime of real life, yet as Gerard Manley Hopkins writes: ‘Christ plays in ten thousand places.’

FATHER STU
Director Rosalind Ross
UK cinema release 13 May 2022.
Cert 15.