The American

After “America!” right on cue The American, a media-inspired (or simply inspired) segue from the last blog. It’s a movie, a new release, which I just saw. Sumptuously shot in the high valleys of Abruzzo, a mountainous region in central Italy, it fits a familiar genre: the spy or assassin who wants in from the cold, wants to live an ordinary decent life with the newfound love of his life. Except this time the assassin is pretty clearly the eponymous paradigm for all of us, for Americans as such. It’s only because it is presented by the ever likeable George Clooney that audiences will be prepared to watch this unpalatable parable. For that it is, a parable, complete with priest, prostitutes and pointed theological dialogue.


Clooney plays Jack, the soulless assassin seeking to find his soul. In his hideout in the picturesque mountain town—in one shot we’re shown it from the sky, along with soaring eagle (geddit? the American eagle/satellite intelligence?)--he is befriended by a white-haired avuncular priest. Jack’s cover story is that he’s a photographer taking landscape photos for magazines and travel books. The priest asks him if he knows anything of “our history” and Jack replies “No”. The priest says “You're American. You think you can escape history." Later on the priest says to Jack, "You cannot doubt the existence of Hell; you live in it."

The movie is something like the experience of going to confession. The priest bugs Jack to do exactly that and the episode points up the whole screenplay. Everything has the chastened atmosphere of a visit to the sin bin, a feeling fraught with perdition. It does not exclude plenty of sexual action as Jack visits prostitutes and falls in love with one of them named Clara (of course, Francis’ love, the woman of peace). But this only serves to up the ante—the sex seems to be balancing on the edge of a bottomless precipice and makes Jack’s distance from real life that much greater. It’s as if Clooney (he’s also a producer) and the director, Anton Corbijn, are bringing us on a penitential pilgrimage to a medieval Italian hilltop shrine in order to confront us with our very 21st century American crisis.

For apart from the perennial of sex the sins are decisively modern. Jack’s secret skill is the construction of weapons and we are treated to a long wordless sequence in which he painstakingly machine tools parts and bullets for a high-power rifle. When he makes delivery of the weapon to his contact he gives her a tin full of specially made explosive bullets and says “Some candy for you.” Jack’s sins are those of relentless contemporary violence conducted by anonymous assassins, predator drones, insidious technology packaged like candy. In the first minute of the movie we see Jack shoot a completely innocent bystander (someone he’s also just had sex with) because she was about to discover his identity.

So if all this is confession where is the repentance? It comes in the climactic moment of the movie and is produced not by a change in Jack as such (he goes off to shoot someone else) but by the convergence of images and emotions the movie itself produces. It is cinematic repentance and at its root is what I would call a “cinechristocentrism”. This happens when the only image that can bring resolution to the impossible violence put up on screen is Christ. I analyze this in my book that’s coming out (Virtually Christian—see Home Page) and there I describe it as the continual rising up of the image of Christ’s compassion from the vortex of violent images around us, the one truly differentiating sign. There I give several movie examples and The American provides yet one more. The big scene happens in the context of an annual religious procession presided over by the priest. In the midst of the ritual there is an attempted assassination and a body falls off a roof and lies dying on one of the photogenic stone alleyways of the town. Jack rushes off to get information from the dying shooter and is followed in short order by the priest accompanied by a troop of acolytes. In effect the procession instead of following the plaster statue of the Virgin becomes one following after Jack and the actual event of violence. In just one more of an ever-growing list of epochal images from contemporary cinema we have the ceremonial crucifix carried by an altar boy, tilted at a crazy angle behind the priest and his holy band, and yet somehow guiding the revelatory moment. We know the image of the cross is absolutely deliberate because it has been signaled earlier when Jack, invited by the priest to dinner, casually picked up a crucifix from his desk. Now turning from the dying body Jack says the words for which the whole movie has been dying, “I’m sorry.” The cross at its tilted angle appears destabilized as a religious icon, but actually it is we who are destabilized and the cross is correct: as the human truth of violence it is the cross that is bringing us into a radical new geometry. It bends to the body on the ground and thus reveals from below the godless facticity of violence invited to become god-filled forgiveness and love.

This is “cinechristocentrism”, the truth of Christ showing up in the place where all our most intense images relentlessly concentrate. Just as violence concentrates on our movie screens so inevitably does Jesus. It means that well apart from religion and doctrine Christ is sensed “artistically” as the only principle that can deal with American violence. And this in a situation where the dominant political and religious discourse is blind and deaf and dumb to the structural challenge of Christ to our way of violence. But cinema is quintessentially “American” and even though the churches still don’t “get it” the cinematic soul of America does. Or, more accurately, America’s order of signified meaning, which is its constant swirl of images, is challenged from within because of the forgiving and living Christ--that which set it in motion in the first place. The absolute self of America is being invited in crisis to become the self that says “I’m sorry”.