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The X-Files: "Miracle Man"
The X-Files is one of those television shows that, like Star Trek or Battlestar Galactica, are cherished and adored by some and despised by others, with little in between. Wherever you might fall on that list, one thing that cannot be denied is its longevity. Spanning nine seasons, Chris Carter’s television series about government conspiracies and alien abductions more or less re-invented the conspiracy-theory genre, with pretty, freshly-scrubbed faces in long trench coats working within the government system to uncover the deadly secrets of Area 51, Bigfoot, ghosts, vampires, and, in this case, modern day messiahs. Though at the time of this writing I have concluded my in-depth series on the cinematic faces of Christ, after giving sixteen films full-length reviews, I do confess that Jesus and his many film interpretations have not left my mind. It has certainly been an educational research project that appeased my own curiosity, and I hope that I have brought something interesting to the table for my readers as well (feedback has certainly indicated thus, for which I am glad). That said, as I watched The Judas Project, James H. Barden’s ludicrous retelling of the Christ story set in modern-day, I could not help but draw parallels to this particular episode of The X-Files, in which Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) investigate a series of murders linked to a twenty-something faith-healer from Tennessee named Samuel (Scott Bairstow). Like The Judas Project, “Miracle Man” is a modern-day update of the life of Christ that puts to question what it might be like if he had come in today’s society instead of first-century Israel. Because I gave Barden’s film such a damning review (well-deserved, I assure you), I thought that I might offer this episode of The X-Files as an example of similar material done right. For starters, I’ll come right out and confess that I am a member of the “adore and cherish X-Files” group, though I feel that the last few seasons seriously lacked the creativity and themes that made the series so engaging. What I found so intriguing about the show wasn’t so much the preposterous storylines about abduction, cover-ups, and paranormal activity, but rather, the ongoing relationship between the chief characters, Agents Mulder and Scully. Mulder is the type of guy obsessed with finding conspiracies. If he sees a flashlight in an alleyway, he will assume that he’s got a UFO on his hands. Scully, on the other hand, could be abducted by aliens and have them dance the Tango all around her, and she would dismiss what she saw and insist that there was some scientific explanation to it. In other words, here are two agents so different, and so utterly preposterous in their contrasting reasoning, that the notion of them ever being paired together is completely ridiculous. However, because these actors have so much chemistry, and because their dialogue and development as partners/friends/lovers are so continuously well-written episode after episode, I could not help but get hooked to this show. If more shows like The X-Files existed, no doubt that I would actually have cable. Alas. “Miracle Man,” episode 17 of the show’s first season, continues on with this fine tradition of Mulder’s complete belief in miracles and Scully’s total skepticism, and it sets them in a small town in Tennessee, where a faith-healer named Reverend Hartley (George Gerdes) has had booming success as a big-tent revivalist. The secret of Hartley’s success is the young man Samuel, a boy who Hartley claims he found abandoned in the woods. Samuel has the ability to heal people of their ailments with his “holy touch,” a claim validated by the presence of Leonard Vance (Dennis Lipscomb), a fellow killed in a fire several years prior who Samuel raised from the dead as a stretcher rolled his dead body away. Samuel himself is a quiet kid—open, sincere, and trusting in the Lord, but he seems much more comfortable sitting at a bar and drinking his beer than he does participating in Reverend Hartley’s flashy tent meetings. In fact, Samuel is reluctant to participate with Hartley’s shows, but the young man has been led to believe that his gift is from God and should be limited to church meetings, and he therefore goes along with Hartley’s ministry. Mulder and Scully are called to investigate when Samuel’s “healing touches” take a tragic turn: Lately, they have tragically brought about instantaneous death to those who Samuel attempts to heal. Though neither agent is impressed with Hartley’s tent services, they end up taking their usual, formulaic positions: Mulder believes that Samuel has a miraculous touch, and Scully believes that it is probably magician tricks and delusions that cause the alleged miracles. As usual, their constant discussions and disagreements work due to some clever writing and good acting from the leads. Basically, what we have here is a murder mystery that happens to involve a modern day faith-healer. These mysterious healings and deaths eventually come down to the question of whether or not Samuel is for real. If he is, did he cause the deaths? Samuel himself believes he did. He thinks that his gift of healing is a gift from God, but because he has allowed pride and greed to overtake him, God has reversed his healing touch and turned it into death. The FBI agents, however, believe that Samuel has been set up, and their investigation leads to the final, shocking truth of the matter that I dare not give away. I will only reveal that events happen that suggest Samuel could be the next incarnation of Christ, or at least someone chosen to taken his place as God’s modern-day miracle healer. In the words of Mulder, “This kind of thing happens only once or twice every two thousand years or so.” All
this to say, “Miracle Man” works in interesting contrast
to The Judas Project, updating the themes of Christ’s
story instead of just the setting. Having lived down south for
many years and experienced its culture, I can verify that it does
a commendable job establishing bible-belt, faith-healing atmosphere
as a supreme emotional event and as its own form of distorted
entertainment (though The
Apostle certainly presents it in a much more positive
light with an equal amount of accuracy). Such a religious business’s
control over Samuel also makes for an interesting parallel to
the Pharisees and Romans’ obsession with Christ: It suggests
that if Christ was born today, he would have become a pawn for
the holy-roller, big-tent revival business. Sadly, that’s
probably not far from the truth—a notion also ironically
confirmed in The Judas Project when its modern-day Messiah
lays his hands on the sick in perfect, faith-healing tradition.
But let’s not open up that wound. Cast: A Fox Network Television event.
Directed by Michael Lange Written by Howard Gordon and Chris Carter.
No M.P.A.A. rating (but probably in the range of PG-13 for several
supernatural elements that would frighten young viewers). Running
time: 50 minutes. Original television broadcast date: March 18,
1994. Questions? Comments? E-mail me: danel_the_tinman@hotmail.com |
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