Abstract
Tender Mercies (1983) is a simple and quiet film that reveals a complexity in its depiction of the many forms love can assume in the soul. Using some of C. G. Jung's and Robert Johnson's observations on the dynamic nature of love, the article tracks the plot of Horton Foote's award-winning screenplay as it unfolds the qualities of love, beginning with romantic love, the most popular form our current culture depicts and promotes, as well as perhaps less glamorous and outwardly exciting forms that nonetheless ground the soul in fuller, more sustainable relations between couples, father and daughter, father and son, as well as the deep passion for what excites and sustains us as creative persons. It also touches on the infernal form of addiction as a kind of fixed and fixated love that harbors no freedom for the individual; an addiction is understood as pornographic to the extent that it continues to promise what it cannot ever deliver, so the individual is always hooked by its fury. By looking closely at various scenes from the film, the author articulates the slow retrieval of one soul from addiction to a life full, whole, and satisfying in its creative and familial love.
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