Dogma Is Still the Best Movie Kevin Smith Ever Made

by

Prior to the release of his breakout film “Clerks” in 1994, Kevin Smith had already written the screenplay for “Dogma.” However, it was only after several more movies and a challenging period in Hollywood that he felt prepared to bring this project to life. At the time, Kevin was an unrecognized talent from the New Jersey suburbs who had produced a movie with friends on a shoestring budget. Five years later, he was an industry veteran with battle scars to show for it.

During this period, he was tasked with rewriting abandoned superhero films for Hollywood producers seeking to leverage his distinctive style. He directed the critically acclaimed “Chasing Amy” and the underrated yet charming “Mallrats.” Additionally, he served as an executive producer on the Oscar-winning film “Good Will Hunting,” which starred his friends Matt Damon and Ben Affleck, who later agreed to star in “Dogma.”

With its ambitious premise, established cast, and controversial themes, “Dogma” was poised to mark a new chapter for Kevin Smith as an indie auteur.

25 years ago, the movie (recently re-released for its slightly late 25th anniversary celebration) was widely appreciated in 1999. However, the success of that era never fully materialized as expected. Since then, Smith has produced numerous films – from studio action movies to comedies to sequels of Clerks and even the enigmatic Tusk. He has now established himself as a profitable multimedia figure. Nevertheless, the witty Dogma remains a significant milestone in his career, where his unique filmmaking approach made perfect sense. This film skillfully combines profane humor with profound spirituality, telling the story of two fallen angels, Bartleby and Loki (Affleck and Damon), who aim to reenter Heaven by exploiting a loophole in divine law. If they succeed, it could lead to the end of the world, as it would challenge the infallibility of God’s word. In response, other celestial messengers enlist the help of Bethany Sloane (Linda Fiorentino), a semi-lapsed Catholic who volunteers at an abortion clinic and is also the great-great-great-grand-niece of Jesus Christ, to travel to New Jersey to thwart the angels’ plan.

In this imaginative reimagining, numerous divine beings make an appearance. Alan Rickman portrays a seraph who acts as God’s messenger, while Salma Hayek takes on the role of a Muse, working as a stripper. New insights are presented about events in the Bible: Jesus is depicted as Black and is said to have had a brother; there is mention of a 13th apostle named Rufus (played by Chris Rock); it is revealed that the Lord enjoys playing Skee-Ball; a monstrous entity, born from the waste left on Golgotha following the crucifixions, makes an appearance. Despite Smith’s signature blend of humor involving genitalia and excrement, the film’s straightforward approach feels inspiring, as if he were aiming to reconnect with the details of the faith he had grown up with (and eventually abandoned).

As a fervent admirer, I’d like to share my perspective on how religious themes often inspire filmmakers to create visually stunning and awe-inspiring cinematic experiences. However, Kevin Smith’s approach in “Dogma” seems to be more about grounded realism compared to his other works, such as the delightfully raw and unpolished “Clerks.”

Critics have sometimes criticized Smith’s work for its lack of cinematic flair, and he himself has been known to joke about the less-than-spectacular visual appeal of his movies. Yet, in “Dogma,” I find a unique charm in his unrefined, unpolished style. Yes, the camera angles may appear listless at times, the close-ups might seem too intimate, and he’s not exactly a wizard when it comes to creating mood or atmosphere.

But the raw, homemade energy of “Dogma” gives it an authenticity that perfectly complements its themes. The lo-fi aesthetic adds a sincerity to the film that resonates deeply with me. It’s as if Smith is inviting us into his world and sharing his thoughts on religion in a way that feels genuine and unpretentious.

The movie “Dogma” navigates the thin boundary between myth and absurdity. While its narrative may not stand up to close examination, it’s not intended to. Instead, it serves as a platform for questioning religious dogma. The characters portrayed by Smith, such as his fallen angels who behave like casual buddies, and his heroine who persistently challenges divine messengers, create scenes that border on question-and-answer sessions.

Smith doesn’t aim to glorify or instill fear through religion, but rather to scrutinize the accepted teachings of the church. The extended scene of gory violence revealing the fallen angels’ wings highlights the sheer silliness of the angel concept. In a world that appears ordinary, inhabited by priests who are more interested in golf than spiritual matters and attempting to engage younger congregations with a statue of Jesus giving a thumbs-up, the notion of the divine seems not only implausible but also comical.

Ultimately, it’s Smith’s distinctive voice that powers everything, echoing in nearly every character (with Silent Bob being the exception due to his usual silence). This voice has been his most valuable asset throughout his career, something he fully acknowledges. One reason he may have diversified into stand-up, podcasting, blogging, and numerous other ventures is because he came to understand that film wasn’t the only medium for him to communicate; he could simply express himself. However, what sets Dogma apart is that it represents Smith trying to comprehend the divine mind through his voice.

As a cinephile, I can’t help but reflect on the tumultuous journey of this movie, which was once met with fierce criticism from conservative Catholic groups. The backlash was so intense that I personally received approximately 400,000 pieces of hate mail and three genuine threats. This situation led to a convoluted release strategy, the intricacies of which aren’t necessary to delve into here. However, I’m thrilled that I’ve managed to regain control of the film from Harvey Weinstein, who previously held the rights. It’s now been restored in stunning 4K resolution for this re-release. While it’s heartening news, a part of me secretly wishes the restoration won’t make it look too perfect.

Read More

2025-06-06 20:54