Reflections on Faith and Film in Hail, Caesar!

Abstract

ABSTRACTWhile Hail, Caesar! written, directed, and produced by Ethan and Joel Coen initially appears to be merely a light satire of classic Hollywood of the 40s and 50s, it also comments upon several kinds of faith, religious and otherwise. Most obviously, the film humorously critiques the Bible-blockbuster films of the era, as being fairly insincere, manipulative, and too conveniently reconciling of secular, Christian, and Jewish perspectives. But careful examination reveals that four different kinds of faith are dealt with in the film: 1) Christian faith, 2) communist faith, 3) faith in Hollywood, and 4) Jewish faith. The second of these is mercilessly mocked, but the first and third are dealt with more sympathetically. The Bible-blockbuster film, as well as the efforts of the studio fixer Eddie Mannix to cover-over scandas in the lives of not a few of the actors and directors, are both efforts to support a the 1950s cultural consensus. That consensus involves a good deal of hypocrisy, but the Coens present the best case they can for understanding those like Mannix who seek to maintain it, even if they show why it ultimately cannot be. Most interestingly, while the film does little to examine Jewish faith itself, it uses the classic Jewish prohibition of graven images to criticize both Christianity and the basic activity of Hollywood. The film illustrates why the 50s cultural consensus could not hold, and raises troubling questions about the long-term impact of cinema itself.