Terry Malloy, the protagonist of Elia Kazan’s 1954 film “On the Waterfront,” is inspired to speak out against corruption in the waterfront unions after getting spiritual advice from his priest. In Peter Glenville’s 1964 film “Beckett,” the protagonist, Samuel Beckett, is a devout Catholic who struggles with his religion and existential agony. Catholicism serves as a source of peace and guidance for him. Steven Spielberg’s 1993 film “Schindler’s List” depicts Catholicism as a source of resistance and hope against the horrors of the Holocaust through the story of a Catholic, Itzhak Stern, who aids Oskar Schindler in saving the lives of Jews during World War II.
During the 20th century, Catholicism experienced significant internal and external changes. The “modernist” movement, which strove to modernize Catholic teaching and practice, grew rapidly. This requires a more skeptical view of Church history and tradition and a larger focus on individual conscience and the use of reason in interpreting religious texts. Pope Pius X released the encyclical Pascendi Dominici Gregis in 1907, in which he referred to modernism as a “synthesis of all errors” in opposition to the modernist movement. As a result, the Church went through a period of repression and censorship known as the “anti-modernist crusade.” The rise of liberation theology during the twentieth century was another significant shift within Catholicism (Black). In the 1960s, this movement evolved in Latin America, focusing on the need for social justice and the emancipation of oppressed peoples, especially the poor. Marxist theories were prominently exploited, and Latin America’s contemporary socioeconomic and political context was a major influence. The Vatican and numerous bishops criticized this theology because of its perceived threat to official Church doctrine and apparent attempt to combine Marxism and Christianity (Gilbert).
Terry Malloy is moved to speak against corruption in the waterfront unions by his priest Father Barry in the 1954 film “On the Waterfront” by Elia Kazan, highlighting the good power of religion. The relationship between Terry and Father Barry serves as the impetus for Terry’s spiritual enlightenment as the film explores guilt, remorse, and morality (Dick 236-238). Terry is encouraged by Father Barry, a kind and brave man, to risk his life by speaking out against the dishonest union executives. Father Barry assists Terry in overcoming his fear and confronting the corruption haunting the docks. The Catholic faith is portrayed favorably throughout the film as the source of Terry’s personal growth.
At the turn of the twentieth century, as Hollywood expanded, so did its problems. Both the murders of prominent film industry figures and the murders of strong figures themselves were symbolic of the challenges afflicting the entire business. Additionally, overdose deaths were commonplace in the Hollywood entertainment sector. In response to Hollywood’s instability, religious leaders have campaigned for censorship in local communities to insulate their people from the city’s purported immorality (McDannell). The Hollywood studios have determined that new legislation is necessary to calm the issue. They worked together to develop the Hays Code’s 36 “Don’ts and Caution” The Hays Code prohibited various practices, including profanity, nudity, narcotics, sex perversion, white slavery, intermarriage, childbirth, child pornography, clergy-related jokes, and national insult. However, there was no feasible way to enforce any of these regulations. Since no serious penalties or fines were created, Hays Code enforcement relied on the good faith of filmmakers. In Hollywood, however, the Hays Code was universally respected (Hansen).
Samuel Beckett, the protagonist of Peter Glenville’s “Beckett,” battles with his religion and existential difficulties, and the reader witnesses him finding peace and guidance in the Catholic faith (1964). In this biography of the Irish author Samuel Beckett, faith, spirituality, and the human condition are all examined. As he struggles with the weight of his convictions and the significance of his life, Beckett’s Catholicism is portrayed as a source of solace and suffering. Throughout the film, Beckett is depicted as experiencing intense spiritual strife. He doubts the existence of God and the purpose of his own life. Beckett’s Catholicism is a vital aspect of his character, and his trust in God eventually gives him the strength and inspiration to continue writing. Beckett regards Catholicism as a source of both consolation and conflict. Hence the film’s representation of the faith is multifaceted.
The Second Vatican Council, which took place between 1962 and 1965, was a watershed moment in the evolution of the Catholic Church. Pope John XXIII held the council to align the Church with modern culture. Among the numerous changes it ushered in was the use of vernacular languages in the liturgy, a re-emphasis on the role of the lay faithful in church activities, and a more open attitude toward interaction with those of other religions and those who do not identify as Christians. In addition, the Church has published additional writings, such as “Lumen Gentium” and “Gaudium et Spes,” that explain the Church’s stance on different social and political concerns. As a result of the Second Vatican Council, ecumenism, the movement to promote unity among Christian churches, also acquired greater emphasis. This was reflected in the Catholic Church’s interactions with other Christian churches and communication with followers of other religions. Pope Paul VI restated the Catholic Church’s opposition to artificial contraception in his 1968 encyclical Humanae Vitae. Catholics were overwhelmingly opposed to this viewpoint. This subject has been divisive in the Christian world for a long time.
In the 1993 film, “Schindler’s List” by Steven Spielberg, Catholicism is shown as a source of hope and defiance in the face of the Holocaust’s horrors. This film depicts the Holocaust and the suffering of the Jewish people in Nazi-occupied Europe during World War II in a compelling manner. Itzhak Stern, a prominent character in the film, helps Oskar Schindler save Jewish lives by hiding them in his business. Itzhak is portrayed as extremely motivated to assist the Jewish people, even at considerable personal risk, due to his Catholic beliefs (Galián 66-68). The film portrays Itzhak’s Catholicism as important to his personality and the impetus that pulls him ahead in the face of the Holocaust. In the film, Catholicism is portrayed favorably as a method of resistance and redemption in the face of the Holocaust’s violence and inhumanity.
Between 1930 and 1968, the Hays Code, also known as the Motion Picture Production Code, governed what could and could not be displayed in American films. Will H. Hays, the former president of the MPPDA, was recognized for having the code-named in his honor. The Hays Code prohibited films that contained what were regarded to be harmful or indecent scenes. The code also attempted to foster time-honored moral principles, such as respect for authority and the sacredness of marriage. At its height, the Hays Code restricted several filmmaking techniques deemed indecent or obscene, which significantly affected the films produced at the time. In these films, Catholicism is generally portrayed as a moral compass that enables the characters to make the correct decisions despite facing difficult obstacles. In “On the Waterfront,” the protagonist’s moral awakening is triggered by his Catholic upbringing, whereas in “Beckett,” his Catholic upbringing is both a source of comfort and conflict. In “Schindler’s List,” Catholicism is portrayed as a force of resistance and redemption in the face of the Holocaust. These films exhibit the breadth and depth of cinematic depictions of Catholicism, demonstrating how the faith may serve as a moral compass and a lifeline for those confronted with ethical issues (Malone).
Between 1930 and 1968, the Hays Code, also known as the Motion Picture Production Code, governed what could and could not be displayed in American films. Will H. Hays, the former president of the MPPDA, was recognized for having the code-named in his honor (Asimow 221). The Hays Code prohibited films that contained what were regarded to be harmful or indecent scenes. The code also attempted to foster time-honored moral principles, such as respect for authority and the sacredness of marriage. At its height, the Hays Code restricted several filmmaking techniques deemed indecent or obscene, which significantly affected the films produced at the time. In most of these films, Catholicism is shown as a moral compass that helps the characters make the correct decisions even in difficult situations. In “On the Waterfront,” the protagonist’s moral awakening is triggered by his Catholic upbringing, whereas in “Beckett,” his Catholic upbringing is both a source of comfort and conflict. In “Schindler’s List,” religion, specifically Catholicism, is portrayed as a source of strength and solace for its members during the Holocaust. These films display the breadth and complexity of cinematic depictions of Catholicism, illustrating how the faith may serve as a moral compass and a lifeline in times of distress.
During the most stringent phase of the Hays Code, the regulations had a noticeable effect on the films produced. Numerous filmmakers felt confined by the MPPDA’s code and were driven to exercise creative control over their work to avoid potential legal penalties. Consequently, many films from that period need to be deeper than those produced today. There were, however, a few directors who circumvented the Hays Code to produce entertaining and thought-provoking films. Despite this, breakthrough works of art such as “On the Waterfront” and “Beckett” were written. Films, constrained by the Hays Code and unable to be as daring as before, pushed the boundaries with political commentary, new and exciting settings, and an improved story and script. The MPPDA formed the Motion Picture Association of America (MPAA) film rating system to replace the Hays Code in 1968. This new structure also granted filmmakers greater freedom of expression, resulting in today’s more nuanced and diverse films.
Works Cited
Asimow, Michael. “Divorce in the Movies: From the Hays Code to Kramer vs. Kramer.” Legal Stud. F. 24 (2000): 221.
Galián, José Díaz-Cuesta. “Man as Rescuer and Monster in Steven Spielberg’s Film Text” Schindler’s List.”” Journal of English Studies 5 (2008): 63-81.
Black, Gregory D. Hollywood Censored: Morality codes, Catholics, and the movies. Cambridge University Press, 1994.
Dick, Bernard F. “The Potato Eater Priest: On the Waterfront s Father Barry and His Real-life Counterpart.” American Communist History 9.3 (2010): 235–238.
McDannell, Colleen. “Why the Movies? Why Religion?.” Catholics in the Movies (2008): 3–31.
Hansen, Regina, ed. Roman Catholicism in fantastic film: essays on belief, spectacle, ritual and imagery. McFarland, 2011.
Malone, Peter. “The Roman Catholic Church and Cinema (1967 to the Present).” The Routledge Companion to Religion and Film. Routledge, 2009. 66–85.
