FIRST REFORMED

US, 2018, 113 minutes, Colour.
Ethan Hawke, Amanda Seyfried, Cedric Antonio Kyles, Victoria Hill, Philip Ettinger, Michael Gaston, Bill Hoag.
Directed by Paul Schrader.

Definitely a film written and directed by Paul Schrader. Schrader has told stories about himself, his growing up in a Calvinist family in Michigan, first seeing a movie, a Disney, at the age of 17. The strict and sometimes puritanical principles of his Calvinist upbringing have been incorporated into the moral dilemmas of his dramas. This was true of his 1976 script for Taxi Driver, directed by Martin Scorsese.

The dramatic chemistry between New York Italianate Catholicism from Scorsese along with middle American Calvinism with Schrader was very well illustrated by The Last Temptation of Christ, an interpretation of a very human Jesus, struggling with his relationship with the father, his sacrificial destiny, support from and betrayal by his disciples.

30 years on from The Last Temptation, each filmmaker has returned to his roots. In 2016, Scorsese made a profound film on Catholicism in his picture of Jesuit missions in Japan in the 17th century. Schrader looks at a contemporary minister, his personal history, theology and spirituality, faith struggles, ministry and support of others, social critique of today’s society. It is there in his title, First Reformed.

In introducing his central character, Reverend Toller, he shows him writing a journal, reflecting on the power of words and the effect of expressing oneself in words. One of the books on the shelf is by Trappist Thomas Merton (later quoted in the film), A Life in Letters. The voice-over of the Journal continues throughout the film, commenting on the action, but Toller questioning himself as to understanding what he is doing, its effect on others.

This is particularly important when a young woman, Mary (Amanda Seyfried) asks him to talk with her husband (Philip Ettinger), an environmental idealist who has been in prison, he does not want a child (she is pregnant) to be brought into the contemporary world and its disaster-bent future. In fact, Toller is a listener, sensible (he has been a military chaplain), but cannot foresee the terrible consequences. Mary also finds a suicide vest with bombs in their garage. Toller takes it, hides it, not wanting Mary or her husband to be caught up with the police.

The conversation between Toller and the young man expresses current anger and anguish about climate change and denial. This is important because the situation of the film is the celebration of 250 years of the historic first Reformed Church, a second consecration, presided over by the city minister (audiences may not recognise the former Cedric the Entertainer using his actual name, Cedric Antonio Kyles). And the celebrations, the fixing of the organ, the publishing of the souvenir program and history, are all being financed by the local capitalist engineer whose factory produces all kinds of allegedly environmentally-friendly products.

In the meantime, Toller struggles with issues of prayer, the nature of prayer, discernment, the depths of faith, issues of belief, stating that wisdom is the ability to have two contrasting ideas in one’s mind, that reason will not provide solutions for problems. What is needed is courage.

Before the culmination of the film at the ceremony for the second consecration, Schrader shifts his perspective from detailed realism to a kind of magical realism, Toller and Mary, one prostrate on the other, are seen floating over the landscapes of the United States, audiences thinking environment, and their final destination, close-floating over dumps, refuse, the flotsam and jetsam of progress.

Which does prepare the audience for the finale – with audiences hoping that it will not go in the direction where it seems to be heading, dreading this. And then the film stops, black on the screen, pause, final credits.

A number have complained that this is too sudden, that they wanted a resolution. Of course, Schrader is saying that there is no conclusion, that there is the range of experience, good and bad, and the challenge to his audience to reflect, accept the challenge.

1. The title, the opening with the church as an icon, the exteriors of the church, the interiors, an 18 century church? Historical churches compared with modern assembly churches? Ministers, congregations, those working in the churches? Choirs?

2. The Calvinist traditions, the Dutch tradition, Protestant theology and spirituality?

3. Paul Schrader and his personal background, Calvinist, his upbringing, his life and career, later in life exploring belief, faith, prayer, moral issues and social issues?

4. Ethan Hawke as Toller, his age, in the house, at the desk, writing his journal, by hand, for one year, his aims? The plan to destroy the Journal after a year? The influence of Thomas Merton, the book on the shelf, A Life in Letters, the later quotations? Toller articulating his experiences, his comment on them, description and assessment? The use of the voice-over throughout the film, from the Journal?

5. The background Toller’s life, his father, the military background, his marriage, his son, urging his son to enlist, his son’s death in Iraq, the grief, the divorce? His sense of blame?

6. The administrating pastor, Toller being given the tourist church, the visits and conducting the tours, the history, the souvenirs, the young children and the Underground Railway? The issue of the re-consecration of the church and the commemoration of 250 years?

7. The leader of the choir, the members of the group, their rehearsals? Her concern about Toller, the sexual relationship, her wanting to meet his needs, his distancing himself from her, pushing her away?

8. Mary, the phone call, organising the meeting, telling her story, her husband and his idealism, causes, the environment, being in prison, in Canada? The pregnancy? Her husband not wanting a child born into a dangerous world? Toller and his visit, calm, listening, talking, allowing Steve to speak? His explanation of wisdom, having many ideas in one’s mind? The challenge and the comparison between reason and courage? Open to further discussions, listening to the explanation of environmental issues? Mary and the discovering of the suicide jacket, the explosives? Toller coming, taking the explosives, not contacting the police? The change in rendezvous the appointment? Toller discovering Steve dead? The funeral, the social concern, the leader and the choir and their singing, the Neil Young song and its social issues? The ashes? The subsequent grief for Mary, pregnancy, going to stay with her sister?

9. Toller upset, writing his experiences, reflecting on the issues, becoming more socially concerned?

10. The supervising minister, his helping Toller, the lunch with the industrialist, the discussion about the environment, the issue of politics, rebuking Toller for making the funeral political? Cautioning him about the re-consecration? The industrialist, personality, the repair of the organ, printing the brochure?

11. The plan for the reconsecration, the various introductions, social dignitaries, the rituals? Televising in the new church?

12. Mary, the meeting, the bond between herself and Toller? The surreal sequence of their floating, each on the other? The range of scenery, terrain, finally floating over the contamination?

13. The issue of Jihad, the suicide vest, Toller warning Mary not to come to the reconsecration? Her arrival, his seeing her, his dilemma? Everyone waiting, the minister going to the
house, trying to get him to come?

14. Mary seeking him out, his taking off the vest, the kiss and the abrupt ending and final credits?

15. The film just stopping, leaving the audience to speculate on its meaning, Toller’s future?