Heretic’s Ending Begs for a Bigger Idea

As a lifelong student of human nature and a firm believer in the power of faith, I found “Heretic” to be a gripping exploration of the complex relationship between belief, doubt, and survival. The film’s narrative is as intricate as a labyrinth, with its characters navigating through the dark corners of religious institutions, questioning their purpose, and challenging the authority that governs them.

Spoilers ahead for the plot and ending of Heretic.

In this rendition, Mr. Reed harbors uncertainties. Starring the charming Hugh Grant, who delivers a potentially career-best performance, the antagonist in ‘Heretic’ is an intellectual zealot determined to expose the contradictions and flaws of belief systems and faith, particularly targeting Sisters Barnes (portrayed by Sophie Thatcher) and Paxton (played by Chloe East), two young Mormon missionaries who knock on his door during a rainy day, seeking to convert him to the Church of the Latter-Day Saints. Unfortunately, instead of merely inquiring, he takes it upon himself to challenge them beyond their comfort zone.

The movie “Heretic” is characterized by lengthy and eloquent dialogues, predominantly delivered by Mr. Reed, who skillfully traps the missionaries in what seems like theological discussion but is actually a malicious attempt at conversion. His objective is to bend the women to his will by undermining their faith, observing their decisions throughout the process. The film’s key scenes are the villain’s grandiose speeches where he employs fast food, music plagiarism, and Monopoly as symbols to highlight how contemporary religions are merely extravagant replicas of past beliefs. He believes that exposing this artifice reveals how the progression of belief systems over time has obscured an ancient truth: at its core, the one true religion is control. Admittedly, this argument is challenging to refute, but since he is the film’s antagonist, his ideology needs to be confronted by the end. Regrettably, it is here that the movie falters. “Heretic” is powerful in presenting Mr. Reed’s criticisms; however, when the film attempts to contradict them, it falls short. One can’t help but wish for a more convincing rebuttal or a stronger reason to accept his arguments.

In the film’s comically violent conclusion, Sister Paxton stabs Mr. Reed in the throat and he retaliates by wounding her abdomen. As they both bleed profusely, a thought-provoking exchange occurs as the menacing yet charismatic antagonist sarcastically suggests she prays. With unwavering faith, Sister Paxton discusses the Great Prayer Experiment – real studies investigating if prayer has healing effects, which concluded it does not. She expresses that while most likely ineffective, the act of praying for others is still meaningful because it allows us to focus on someone else, even ourselves. This sentiment mirrors the emotional intensity of the scene’s climax. However, compared to Mr. Reed’s logical debate throughout the movie Heretic, Sister Paxton’s statement appears somewhat vague.

As a devoted movie-lover, I found the film “Heretic” particularly captivating in its initial phase, where it delicately explores faith and religion through the lens of interpersonal politeness. The instant the Sisters encounter their enigmatic antagonist, an unsettling sensation arises, subtly hinted by his casual remark about the metal in the house’s walls as they enter. This seemingly innocuous detail might strike one as odd, yet it might not be enough to spark immediate suspicion. The house itself is peculiar: it lacks a sense of being lived-in, its dimensions are off, and the window appears excessively small.

In essence, Mr. Reed’s antagonism appears more directed towards organized religious practices rather than faith itself. This becomes evident when he grows frustrated with the Sisters’ persistent belief that his wife is hidden within the house despite clear evidence to the contrary. He questions, “Is it your continued faith that my wife remains in the next room, disregarding all the facts, or have you been courteously maintaining a deception?” He emphasizes the mounting proof: the candle emitting a scent like blueberry pie, their confinement within the house, and the peculiar chapel setting. He further ponders, “Are you persisting in believing something untrue merely for the comfort it offers, should it be falsehood?” This scenario might evoke memories of a similar sentiment in Christian Tafdrup’s original 2022 film, Speak No Evil, which revolves around a family tormented and eventually murdered by a sociopath exploiting their polite middle-class demeanor. (“Why are you doing this?” “Because you allowed me.”) A comparable dynamic unfolds in Heretic, though factors beyond the Sisters’ religious beliefs also play a role: The power struggle here is as much about gender and age as it is faith. However, unlike the unfortunate family portrayed in the original Speak No Evil (though not in the recent American adaptation), the Sisters resist passively and attempt to defend themselves intellectually. “We cannot pose a physical threat to him,” Barnes tells Paxton when they’re imprisoned in the chilling bunker beneath the chapel. “But we can be a mental challenge.

The Sisters exhibit significant distinctions, with Paxton appearing more devout and less prone to question her beliefs, having been raised within the church. On the other hand, Barnes, whose mother converted, has had a more complex life due to losing her father to Lou Gehrig’s disease and exploring various denominations before returning to Mormonism. She conceals the fact that she has a contraceptive implant for fear of judgment from the church. It’s Barnes who spearheads the Sisters’ resistance against Mr. Reed, challenging his portrayal of Judaism as having a small population due to insufficient “religious marketing.” She also questions the logic behind his assertion, arguing that it overlooks the Holocaust and broader Jewish persecution. Essentially, she contends that his atheism, like faith, is rooted in emotion.

As a film critic, I must admit that Sister Barnes’ role seemed to embody the delicate balance between faith and doubt, making me expect her to be the movie’s final survivor. However, the chilling scene where Mr. Reed slashes her throat with a box cutter leaves you in utter disbelief. This brutal act serves to expose his true monstrous nature and solidifies his character as a personification of the oppressive elements within the institutions he critiques. He skillfully employs the charm that attracts many to organized religion, only to exploit the faithful while silencing the skeptical.

In simpler terms, Mr. Reed, despite being a villain, raises valid concerns in his criticisms that can’t be ignored in the movie “Heretic.” The film doesn’t fully address the uneasy balance between faith providing comfort and beauty amid horror, and the potential violence of organized religion. Sister Paxton argues that this comfort is enough to justify religion’s existence, but the validity of this claim remains questionable. After Mr. Reed shows a moment of apparent sadness when he approaches Sister Paxton, he attempts to kill her with a box cutter, only to be stopped by Sister Barnes before she dies. The fight’s physical resolution is satisfying, but the philosophical tension between faith and violence persists unresolved in the movie.

Temporarily, the movie appears to explore the uncertainty surrounding the tension it presents. When Sister Paxton ultimately escapes from the house into the returning daylight, she encounters a butterfly landing on her hand – a nod to her earlier sentiment about wanting to return as a butterfly after death so she can observe her loved ones. However, this butterfly, symbolizing the deceased Sister Barnes, vanishes shortly afterwards in the narrative. Is Sister Paxton grappling with a void in her faith’s poetic nature at this moment? Or is it another depiction of her determination to appreciate its beauty? The movie concludes before revealing any further development regarding Sister Paxton’s growth. Given Heretic‘s evident delight in debating ideas, this is disappointing. One cannot help but yearn for a more definitive conclusion derived from a scene with less emotion and more action. Maybe the answer lies in an instance that focuses more on actions rather than feelings. Mr. Reed’s death by nailed-bat underscores another timeless principle: The triumphant side in religious conflicts is not decided through philosophy, but by violence.

2024-11-09 00:54

Heretic’s Ending Begs for a Bigger Idea

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