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There were people known as “Jesus freaks” before there were mega-churches the size of sports arenas preaching prosperity and weight loss, before televangelists and a billion-dollar “He gets us” ad campaign, back in the period of hippies and Woodstock and peace signs. A subset of the generation that rebelled against the military-industrial complex, commercialism, their parents, and pretty much everything but wasn’t always sure what they desired included ardent Christians. They didn’t fit the stereotype of folks dressed up for church on Sunday. They led simple, shared lives. And they were inspired by charismatic leaders in both the secular and religious meanings of the word.
They were featured on the cover of TIME Magazine on June 21, 1971, with the headline “The Jesus Revolution.” “There is an unusual morning freshness to this movement, a buoyant atmosphere of hope and love alongside the usual rebel zeal,” the story exclaimed. “Their love appears to be more genuine than a slogan, deeper than the quickly fading sentiments of the flower children; what surprises the outsider is the extraordinary sense of joy that they are able to communicate.”
That is the narrative and message of a new film, also titled “Jesus Revolution,” which is based on a book written by one of the “Jesus freaks,” Greg Laurie. This film is not about certain specifics, such as the homosexuality and history of drug abuse and instability of one of its real-life characters. This film also does not address difficult issues such as how baptismal cleansing does not always result in a perpetually “buoyant atmosphere of hope and love.” Instead, it’s a gentle tale preached to converts, assuming that evangelical Christianity is unquestionably the answer without considering that this particular form of worship may not be the answer for everyone.
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Chuck Smith, played by Kelsey Grammer, is a minister in California who oversees a traditional congregation called Calvary Chapel. Smith’s daughter convinces him to speak with the long-haired and unusually called Lonnie Frisbee. (Jonathan Roumie). Initially convinced that Frisbee is an irresponsible hippie, Smith is struck by his sincerity, humility, and commitment to Jesus’ messages of generosity and an attitude of welcome. Frisbee tells Smith that there is a chance to reach hippies because they reject their parents’ values, which is one of his concerns. Their drug experimentation is a quest for “all the right things in all the wrong places.” He thinks he can convince them that the proper place is with God.
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Frisbee and his followers are welcomed into Smith’s house and church. When parishioners complain about the newcomers’ dirty bare feet, the minister follows Jesus’ example and washes their feet. Some churchgoers are disgusted and flee. Others are moved by the sincerity of the immigrants.
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And there are many newbies. In the Pacific Ocean, there are joyful group baptisms. “It’s not something to explain,” Smith says emphatically. It is something that must be witnessed. What you’re witnessing is a sign of new vitality. Every doubt, every remorse has been washed away.”
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Much of the tale is told through the eyes of Laurie (Joel Courtney), the author of the book that inspired the film. He arrives first as an observer, armed with a video recorder. When asked if he is a member of “God’s forever family,” he shrugs and says, “I don’t really know what a family feels like.” He is attracted to the sense of community, purpose, and spirituality that Smith and Frisbee provide. He is also attracted to Cathe (Anna Grace Barlow, who is engagingly natural), though it takes him a little longer to realize this. Greg Laurie is a minister who is married to Cathe in real life.
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The “contributing” parishioners claim they are uneasy. Smith informs them that this could be his goal. He wishes to console young people who are seeking God, not those who believe they have already discovered Him. But that is precisely what this picture does not do. “No guilt trips,” Smith says, as he vows forgiveness, freedom, and acceptance. This is your residence.” To put it another way, ease. However, when Smith and Frisbee split up after Frisbee begins to show signs of instability and grandiosity, all we learn is a brief text over the end credits that they eventually reconciled. There is nothing in the documentary “Frisbee: The Life and Death of a Hippie Preacher” about the difficult years.
This picture is competently produced but superficial. It’s difficult to strike a balance between acceptance, direction, and repercussions; it’s impossible to make everyone feel equally valued all of the time. “Jesus Revolution” is more of a wistful wish for a flood of new followers than an attempt to grasp what they’ll require once there. “After the ecstasy comes the laundry,” says Jack Kornfield of another faith practice.
The film is currently showing in theaters.
For more personality quizzes check this: Breeding Difficulty Quiz.
