I’ve never seen a film that translates grace to the screen like Babette’s Feast. As one of the rare films that focuses on the lined and battered faces of real people Babette’s Feast challenges viewers to love real life. The film embraces God’s love for the embodied, the ordinary and the value of the extraordinary, and a love that wastes nothing.
Son of God is a dud. Just don’t tell that to the film’s producers, Roma Downey and Mark Burnett. They found evidence of divine favor in the “truly miraculous” support they received from Catholic and evangelical leaders. It brought in $26.5 million its first weekend.
Burnett and Downey’s marketing approach makes good business sense and has plenty of precedent.
At year’s end, when all is sad and done in, we gasp as clouds of smoke appear. But it’s only the yews spewing pollen, outdoing chimneys as if it were spring. That and speech about Mideast peace as juncos reseed themselves, the Christmas rose flops open to cold, and Barney the cat perfects his new trick—he unbars our door.
He stares. (He prefers indoors.) But right there’s the morning star, just like the chorale’s. And up close, trouble— a pup hunting kibble and warmth. And there’s more. Mt. Rainier shows up in pink and blue bunting. So clear. Such fresh-powder glory. The sleepy volcano seems suddenly haloed, huge, and near. So much for our little stable.