Most historians of film remember organized religion as one of American cinema’s classical antagonists, especially in the early half of the twentieth century. They recall the vitriol leveled by conservative Protestant and Catholic groups against the “juggernaut of destruction” ((George Detweiler, “As to Moving Picture Shows,” Evangelical Visitor, February 5, 1912, p. 2.)) known as the motion picture. One writer summed up much of conservative Christianity’s sentiments quite succinctly: “Nothing has ever been introduced to the public, of such gigantic proportions, as a means of poisoning and debauching the mind and morals of the young, as the ‘moving picture show.” ((“Primary Causes,” Evangelical Visitor, August 7, 1911, p. 15.))
But not all conservative religious groups and leaders were utterly opposed to the new cultural phenomenon. As Terry Lindvall points out in his well-researched and cleverly written Sanctuary Cinema: Origins of the Christian Film Industry, fundamentalist revivalist Billy Sunday was in fact a promoter of the early motion picture.
Lindvall recounts one of Sunday’s endorsements, this of the D.W. Griffith film The Two Orphans:
The power of the moving picture should be used to inculcate warnings and lessons that the world needs. . . . [The movie is a] sermon of the highest value. Would that every story carried on the screen might have a lesson as powerful, and as useful, a motive as praiseworthy. ((Quoted in Terry Lindvall, Sanctuary Cinema: Origins of the Christ Film Industry (New York: New York University Press, 2007), 107))
The idea that a movie could be used as a “sermon of the highest value” would not gain significant momentum within much of Evangelical Protestantism until the 1951 release of Mr. Texas, a fiction film produced by the Billy Graham Evangelistic Association as an evangelistic tool for use in churches, at Christian youth functions, and at Graham’s crusades.
But Sunday’s remarks suggest that, despite mainstream Protestant objections to film in the early decades of the twentieth century, church leaders were able to distinguish between the morally neutral technology of filmmaking and the often violent and sexualized imagery of Hollywood productions—a distinction some other conservative Protestant groups (like Mennonites, Brethren in Christ, and similar Anabaptists) could not draw.