Faith is a tricky subject to approach when it comes to the liberal arts – for most, the concept of separating church and state seems to extend to the entertainment industry, with stories that focus on uplifting and celebrating certain religions not being rejected, but instead given their own niche platform, separate from the mainstream, where those that wish to indulge in this dedicated worship may do so, while those who prefer more secular stories can comfortably rest assured that they are not going to be witness to a subject that has been oddly villainized as being almost manipulative. Of course, this is just the general perception, with the concept of faith-based films being religious propaganda being outdated, and a result of studios trying to avoid alienating a large portion of their potential audience who may not be keen on having certain religious concepts presented to them where they may not have been expecting it. It’s a complex conversation, and it entails much more than just focusing on market trends but also requires a working understanding of how these religious stories tend to be received by those who are sometimes more cynical of their artistic value. In this regard, it takes a lot of work to create something that can address religion without being considered a religious film itself, especially when it isn’t only about criticizing a particular faith or its practitioners but celebrating its more positive aspects. This is perfectly encapsulated in Mass Appeal, in which director Glen Jordan works with Bill C. Davis to adapt his play of the same title, which focuses on the relationship between a veteran Catholic priest who has dedicated his career to toeing the party line, and the idealistic young deacon whom he is forced to take under his wing, despite their broad ideological differences that result in constant disagreement between the pair, leading to an unconventional partnership that becomes increasingly more complex as the two men reveal their inner insecurities and existential quandaries, making it clear that essentially no one has all the answers, which always seem to be just out of reach.

Mass Appeal is a film that is based around a simple but evocative concept that challenges the audience to rethink the way we understand religious beliefs and the institutions that harbour them, which leads to quite an effective and often deceptively funny dark comedy that understands how to handle this precarious subject without being too overwrought. It is clear that this film is based on a stage play, with the dialogue-heavy script and very limited setting (which is not concealed by the fact that Jordan expands on the world of the story by setting it in a few other locations, as well as introducing a few additional characters) making it obvious that this was originally developed for the theatre, both in how it follows the very conventional structure of two individuals with very different perspectives on life engaging in a lengthy debate about the merits of their faith, as well as their varying opinions on how religion should not only be expressed but also the role it plays in society. Even removing the specific narrative and contextual detail, we can see that Mass Appeal is essentially built on the common trope of the battle between tradition and modernity, with its representatives being two distinct individuals with different ideas on how to approach belief, but who are matched in terms of passion and intelligence, which makes for an enthralling examination of some deeper themes, which are eloquently and delightfully conveyed by a pair of actors who know how to handle this material well, and a director who may not be the most interesting on a visual or stylistic level but still brings a decent amount of flair to a story that certainly required it. Jordan had only recently just come off a well-received adaptation of Neil Simon’s Only When I Laugh, so it was clear that if he could effectively bring to life one of the most cherished American playwrights’ stories to the screen, something like Mass Appeal would be effortless exercise, which turned out to be a relatively accurate assumption.

This film is undeniably a comedy with a few moments of melancholy peppered in where it was appropriate, so naturally it wouldn’t function as a bold evisceration of the Catholic Church (which has certainly had its fair share of conspiracies and controversies over the course of its history), but rather a more tender and comedic depiction on the differences between two individuals on opposing sides of the ideological pew. The protagonists of Mass Appeal are divided by many factors – age, experience and (in the case of how the play was originally envisioned), nationality, with the traditional Irish sensibilities of Father Tim Farley being entirely different to the more urbane American attitude of his young protégé. This doesn’t factor too much into the narrative (although it seems like the frequent mention of visiting Europe, and perhaps even being transferred there, was done as a clear indication of the divide between the two cultures and how religion centres on the lives of different people), but it all works together to create this very exciting and quite endearing satire that sees two very different people engage in a lengthy debate over the course of a few weeks, in which time they somehow start to question their own beliefs. Perhaps the most significant message contained within this film is that even if someone stands by their belief with the most steadfast, fervent dedication does not mean that their faith is infallible – and anyone that is not willing to have such beliefs challenges is just contributing to the regressive view for which many religions are criticized, their myopic views and refusal to even acknowledge reform (and where their answers to some of the more challenging but common questions always remain the same, as if they were taught by rote) leading to their poor reputations. This is what Mass Appeal does exceptionally well, challenging without forcing change, and creating a scenario where we can appreciate these complex conversations without feeling as if the director or writer wants to persuade us to change our own beliefs. The fact that the story ends on quite an ambigious note is very promising since it allows us to form our interpretation and understanding of the material, a much more meaningful approach to a film very dedicated to exploring the roots and limits of religious belief.

As is often the case with many plays, a story can only be as strong as the actors tasked with bringing it to life, and Mass Appeal certainly proves this to be true. It has the added caveat of not only needing strong actors to deliver the dialogue but also making us believe that these were real people, rather than narrow archetypes that exist seemingly only to be vessels for the broader message. The connections he formed by working with Neil Simon (and a range of other writers and producers, as he had a respectable career in television before venturing into film) clearly gave Jordan the advantage of being put in contact with Jack Lemmon, one of the great interpreters of Simon’s work, especially the iconic The Odd Couple, one of his defining roles. Few actors make as much sense playing a dedicated but stubborn older clergyman who has his beliefs challenged and mindset changed by an unexpected encounter with someone whose entire existence has been about pointing out the flaws in a centuries-old system. Lemmon is naturally as exceptional as always, and while it is a performance that he could have done without any effort, his most endearing aspect as an actor is that, regardless of how easy a role may be for him, he commits fully and whole-heartedly, which is always a wonderful surprise, especially when he is trying something slightly new or previously unexplored for him. Željko Ivanek is a worthy adversary, taking on the part of the rebellious young upstart who thinks he can lead the way for reform within the Catholic Church, not realizing that he is neither the first young person with ambitions to change the system nor is he the last – and he is a fantastic opponent for Lemmon, their continual sparring throughout the film being an absolute highlight. They match each other on an ideological and theoretical level, and despite acting across from as intimidating an actor as Lemmon (who had officially ascended to the status as one of the elder statesmen of acting), Ivanek holds his own, commanding the screen and finding the common ground between the two characters, which is what makes this film so wonderfully unique and entertaining.

Mass Appeal has been a film that hasn’t been particularly accessible – it was not available on home media until very recently, and it always felt like a bit of a holy grail, since it is often considered one of Lemmon’s most underrated, deeply unheralded performances, an opportunity for this esteemed actor to play a role that was within his wheelhouse, but yet still so different in terms of the character’s experiences and worldview. It’s not a particularly complex film, nor is it one that feels like it is coming from a place of extreme subversion. If anything, it’s those traditional aspects that keep this film afloat – it doesn’t need to be experimental or overly ambitious with its ideas, since there is always something more intriguing lurking beneath the surface when it comes to the conversations conducted between these two main characters. In isolation, they’re captivating and very interesting, but it’s only in their interactions that we see them develop into memorable figures, who function less as archetypes and more as fully-dimensional individuals who are far more compelling when portrayed by such gifted actors. Mass Appeal is a film that dares to skirt the boundaries of decency, going against the convention around good conversation never involving religion or politics, with the former in particular being seen as almost taboo unless a film has something substantial to add to the conversation. This film certainly has many bold ideas, and it challenges us to think outside of the box – it will likely resonate more with those who are part of the Catholic faith since there are levels of detail here that are made more captivating with a working knowledge of the church and its traditions. However, even within this merely supplementary knowledge, it’s easy to find value in this film – there is a level of detail that encompasses it that feels very special, and the active work being done by the director in developing this story is quite meaningful. It may not be revolutionary, but it has its place, and whether in the most intricately detailed debate or just a moment of quiet contemplation, Mass Appeal is a film with a lot of heart and humour, which is exactly what such a film required.