Is old film the answer to forming our children’s imaginations?

Anthony Esolen thinks so.  Our children need not just our example or direct teaching to form their imagination and moral sense, but good art, including film.  If it isn’t explicitly religious or moralizing, all the better.

Why the Miley Cyrus generation needs the old movies…urgently:

For I find this black mark impinge the man,
   
That he believes in just the vile of life.
   
Low instinct, base pretension, are these truth?
                   
– Robert Browning, from The Ring and the Book

…we should welcome our allies wherever we may find them, particularly among the creators of films that celebrate marriage and innocent life, piety and faithfulness, before such things became controversial. The unconscious witness of people who are not party to our current confusion can be most powerful indeed. A film like Penny Serenade, about a marriage that hangs by a thread, between a good man who is a failure at work and a good woman who cannot bear children, has more to say to us about not tearing asunder what God has joined together, than any number of lectures in theology…

Here someone will object that the people who made those films were often not at all pious. Some of them did things that, if you knew about them, would make it almost impossible for you ever again to take any pleasure in their work. What then separates them from the people who make films now? Aren’t they all sinners like the rest of us? And cannot bad people make great art?

Yes and no. There are sinners who feel the pain of their sin because they acknowledge how far they fall short of the glory of God. That might have described the hard-drinking, fist-throwing Catholic director, John Ford; and the womanizing Gary Cooper, who became a Catholic shortly before he died, partly because of the example of Ford. But then there are sinners who are numb to their sin, because they no longer acknowledge the glory of God. They are like the wicked man whom Robert Browning’s pope describes in the quote above. They believe “in just the vile of life.” For them, all piety is sanctimony, all patriotism is bigotry, all chastity is prudishness, all innocence is naïveté, all tradition is hide-bound, all judgment is arbitrary, and all love is but selfishness with sugar.

Such people cannot make great art. They can be a part of great works of art only to the extent that they are borne up by the faith of better people around them. They cannot otherwise raise themselves out of the mud…

We wish not only to tell our children what the truth is, but to show it to them. This we can do by the example of our lives, but because children so often feel the need to place some distance between themselves and their parents, if only to win their separate identities, we must turn to others to confirm that truth. We can do much on our own to form their memories. We can do little on our own to form their imaginations. That is what good art and great art are for.

We cannot hand over their imaginative catechesis to people who, en masse, reject or despise our trust in God and in the coherence and beauty of the nature which God has created and sustains. That is not because they are bad people. As people they may be much better than their principles. It is because their principles are bad; the well is bad from the source…

And since, for most people, imagination leads and reason follows, we are fooling ourselves if we think we can ignore it. The forming of the imagination is not a part of a Christian education. It is a Christian education.

That does not mean that we turn to specifically religious art. Again, a religious vision of the world often strikes home more powerfully when it is like the fresh air, or like health…

But I hear an objection: “Our children cannot watch the old movies!” Their attention wanders if they are not regularly needled and sparked by noise, a visual and aural and neural overload, an induced Saint Vitus’ dance. If that is true, their imaginations need more than formation. They need healing.

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