TITLE: Archive Review: Time Changer (2002) AUTHOR: Joe Johnson DATE: 10:59:00 AM ----- BODY:
Dir: Rich Christiano

Christian filmmaking is generally akin to war propaganda and after-school specials. It requires the adjective “Christian” because these filmmakers cater to an audience that is forgiving, exploiting a sense of party loyalty and cultural guilt. It is very difficulty to tell a story well, whether in film or print. Somewhere, there must be an overriding theme; the story must be about something. At the same time, for the story to have any depth, the characters cannot become inferior to the theme. In action films it is customary to use “types”—disposable and predictable villains, fair maidens, and brawny vigilantes. But in dramas, character is essential.

Time Changer is tightly focused on its thematic question: “Can morality and the authority of Jesus Christ be separated?” Of course, we cannot imagine the flimmaker answering in the negative. We are being taught something, a way to think properly. If we are to listen to the film and enjoy it, we must think like it does. We must agree with what it teaches.

Propaganda films are usually very boring or unbearably heavy-handed. Even the better ones, such as The Day the Earth Stood Still or Intolerance, are difficult to forgive. We know we are being manipulated and though we may even agree with the film, there is always a level of resentment against being told to see with one perspective.

There is one avenue for propaganda films that can work more smoothly, namely, the satire. Black comedy and exaggerated stories make disagreement seem ludicrous. But satire is more manipulative than the blatant propaganda film. Time Changer is not truly satire. But neither, despite its premise, is it really about manipulation. Yes, it manipulates, but that does not appear to be its function. Rich Christiano seems intent on exploring the foundational question, building a case study or illustration. (The movie is both his hypothesis and his evidence, and to critique the film negatively one must find a hole in his argument.)

Time Changer is a rather credible piece of entertainment, mixing H.G. Wells fantasy with fish-out-of-water comedy. Yet, despite this quickly identifiable parentage, Christiano manages to avoid several of the clichés present in both genres. The time machine device completely stays away from any “changing the future” idea. It also dedicates little time to comedic misunderstandings. As Russell Carlisle (D. David Morin) comes to the present, he really adjusts as quickly as possible to modern contrivances. He gets the gist of the future and attempts to make his stay invisible.

Despite the fantastic plot device of utilizing time travel to witness the results of Carlisle’s theories, there is gravity and evident contrast between past and present. This gravity comes from what is arguably the greatest strength, or greatest weakness, of the movie: D. David Morin’s performance. He seems stilted and speaks awkwardly. The dialogue is intentionally contrasted from modern vernacular. Carlisle talks in complete sentences without contractions ("will not" not "won't" - "can not" not "can't"). But reading nineteenth-century scholarly writings, perhaps Morin’s performance is better than it seems. The only doubt about this is watching Carlisle in contrast with the fluid mannerisms of his contemporaries Norris Anderson and The Dean, played by more prominent actors Gavin MacLeod and Hal Linden, respectively.

Time Changer succeeds in two significant areas: the characters are interesting and, largely, original — and there is enough intrigue to keep viewers to the end. It could easily use another re-write and an outside, critical eye to advance the movie to another level. Knowing that the primary audience is fundamental Christians — and that the movie was executively produced by Paul Crouch, founder and president of the banal Trinity Broadcasting Network — Christiano takes some significant risks. Although he doesn’t exactly bite the hand that feeds, he subtly makes a few pokes at the modern church. It isn’t enough, but it is accurate.

The entire movie is as much a critique of liberal Christianity as it is propaganda for fundamental Christianity. While it reinforces evangelical zeal for “End Times” theology and proactive evangelism, it also questions the results of agnostic philanthropy and – very subtly – religious right demands for the legislation of moral behavior.

Rich Christiano’s effort is generally solid. It might even be good filmmaking, though, at its heart, it is intensely about an agenda. There’s nothing wrong with the agenda and it is uncommon enough to propel the film. Time Changer puts forth hope that Protestant Christianity may one day re-engage with culture, depending on good storytelling, compelling characters, skillful directing and proficient acting more than a sympathetic audience. Considering the progress made by LDS filmmaker Richard Dutcher, Christiano still has some work to do, but he may have a great film in him somewhere.

*** of *****

Labels: , , ,

--------