The plot: Atheism activist Madalyn Murray O’Hair (Melissa
Leo), her son Jon (Michael Churnus) and her granddaughter Robin (Juno Temple)
have been kidnapped by Madalyn’s former work colleague David Waters (Josh
Lucas) for a ransom. As they try and find a way out of their situation, Madalyn
reminisces about the events that led her to this point, from working with her
other son William (Vincent Kartheiser) to ban in prayer in public schools to
founding the organisation American Atheists to her frequent clashes with the
Christian populace. It seems that no good deed truly goes unpunished.
With how captivating Melissa Leo has been in
supporting roles over the years, it is damn satisfying seeing her take the lead
role with this much gusto. She imbues the rather fiery atheist with all the
passion and inhuman drive you could ask for, making for a central performance
that immediately and consistently engages. Lucas as the lead kidnapper is an
ideal casting choice, given the man’s history with unabashedly dickish
antagonists, and he works off of Leo less like a dominator and more like an
intellectual sparring partner. Vincent “Connor from Angel” Kartheiser actually
ends up giving the strongest performance here, as he lets the stress and inner anguish
of his character sit tightly on his shoulders, resulting in a role that is
weirdly complex for a film that is ultimately pretty cut-and-dry.
Chernus and Temple only
end up showing that charisma is not a genetic trait with how lifeless they feel
(man, 2017 has not been a good year for Juno Temple), Rory Cochrane brings some
much needed griminess to the hostage scenes, Adam Scott as an investigative
journalist is just okay, and Brandon Mychal Smith as Madalyn’s ally Roy should
not be here, since his mere presence in the story results in some… questionable
dissonance.
When bringing a true story to the big screen
(or small-ish screen, since this is a Netflix Original), biographical details
are the main thread that tie things together. If you’re going to bother with a
direct depiction of history, rather than going with the “Inspired By Actual
Events” route, the details are crucial. Unfortunately, we don’t really get a
whole lot of them in this film. Watching this, you definitely get a sense
that Madalyn wore whatever derision she got on her sleeve, but the reasons for that derision are rather
embarrassingly glossed-over. Her involvement in the court ruling that mandatory
prayer in school is unconstitutional? A few lines of dialogue and a TV news
recap, all without a single moment inside a courthouse.
And that’s just the
specifics; Madalyn’s actual activist work barely even gets brought to the
surface, not even the work of American Atheists as an organisation. The film is
so focused on Madalyn as a person in her own right that it ends up neglecting
her specific actions and the very things that made her remembered enough to
warrant this film in the first place. And believe it or not, we’re only scratching
the surface of the wrong that is this movie.
So, in lieu of depictions of activism, what do
we get instead? Finances, mainly. It is seriously bizarre to see a film where
the mentions of money and possible embezzlement ends up outweighing anything to
do with actual atheism. Aside from boiling down the reason for Madalyn’s
kidnapping to easily the most uninteresting element, it doesn’t even reach the
point where it’s serving as any kind of contrast. With how tax exemption has
made organised religions a mint in the modern world, this so easily could have
been used as a way of contrasting her efforts against those of her opponents,
maybe as a way of showing that their means aren’t so different from each other.
But no, the film just thinks that Madalyn’s bank balance is the most
interesting thing about her, something that Leo spends pretty much every single
scene trying to prove otherwise.
This ends up taking a weird turn once it
reaches the point where the economic side of things is all that the film highlights, showing her public debates with
Reverend Bob Harrington (Peter Fonda). This is shortly after Roy admits to the
reporter that being black and gay in Texas is a tough job and Madalyn gave him
support when no-one else could. Cut to her calling Christians 'faggots' like a
try-hard Youtube atheist. See what I mean about that disconnect?
And that isn’t the only example of that. Along
with eyeing her off-shore accounts, the film also takes a fair bit of time out
to show her mannerisms around her family… and she’s basically depicted as a
distaff version of Kevin Sorbo in God’s Not Dead in how verbally abusive she
can get towards her own family, including her born-again son. There’s even a
scene dedicated to her basically calling mea culpa on how she has treated her
children over the years, which is a bit odd considering even that gets glossed over more than a few
times.
So, rather than highlighting the titular character as a polemic but
influential figure in American atheism, she is shown here to be an
economically-corrupt, relative-discarding troll. Given the recent surge in
Christian cinema, along with how prominent atheist figures don’t usually get
this kind of feature-length treatment, this treatment of the character feels
right at home with the usual PureFlix standard of making atheists out to be the
worst kind of people on Earth. Especially when her kidnappers are depicted as opportunistic
but inept goons who spend more time playing video games and watching football
with their captors than actually threatening them. I can’t confirm or deny any
religious bias that went into this from a production point-of-view, but just
based on the text of the film, there’s not a whole lot of other conclusions I
can come to. I originally planned on making a joke about how this film is
actually a documentary about Hilary Clinton, going by the title, but I’m
actually not that far off. Mentally replace the talk of money in this with talk
of suspicious emails and you have a general idea of how petty this comes
across.
All in all, I wasn’t expecting to get to this point but I
honestly think this is just trash. An engrossing and fiery performance from
Melissa Leo is utterly wasted through a sheer lack of story detail, characterisation that makes it seem like the film is aiming to vilify its lead
more than anything else, and not nearly enough focus on how the events should
be presented. I’ll say it again: Representation fucking matters, and since
we’re not likely to get a Richard Dawkins biopic any time soon, atheism getting
a mainstream depiction of this stature is a little disconcerting. It’s a
lovingly-painted target for the people who still think there’s an actual War On
Christmas and that there’s a conspiracy to wipe religion off the face of the
Earth; when your story historically ends with murder and mutilation and this
much time is taken out to make the victim out to be the bad guy, there is
something seriously wrong here.
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