Opening under the banner "Jesus Revolution," this narrative harks back to a bygone era before the advent of mega-churches resembling sporting stadiums, televangelism, and billion-dollar marketing campaigns. This was an age of hippies, Woodstock, and peace signs. A unique sub-culture, affectionately known as "Jesus freaks," emerged amidst the whirlwind of rebellion against militarism, commercialization, and parental authority.
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This sub-group, which didn't conform to the conventional image of Sunday churchgoers, chose to lead simple, communal lives. Their drive comes from the charisma of their leaders in both secular and religious contexts. Their captivating story became the focus of a TIME Magazine cover story on June 21, 1971, titled "The Jesus Revolution.” It describes their movement as being imbued with a distinctive freshness and hope-filled atmosphere, driven by the energy of rebellion. Their love felt sincere and enduring, and their joy was infectious.
This narrative comes in the form of a movie, "Jesus Revolution.” It’s inspiration is from a book by Greg Laurie, one of the leaders of the "Jesus freaks." Rather than focusing on individual character details or exploring complex theological questions, this film chooses to narrate a simplistic tale that assumes evangelical Christianity as the ultimate answer, overlooking that this particular form of worship may not be universally applicable.
The film features Kelsey Grammer as Chuck Smith, a minister of the traditional Calvary Chapel in California. Persuaded by his daughter, Smith engages in a conversation with the unassuming yet passionate Lonnie Frisbee (Jonathan Roumie). Initially perceiving Frisbee as a wayward hippie, Smith eventually falls for his sincerity, humility, and dedication to Jesus's teachings on generosity and inclusivity.
Frisbee impresses upon Smith the opportunity to connect with the hippie community. He observes that their deviation from traditional values and experimentation with substances is merely a quest to find meaning "in all the wrong places." Frisbee believes he can guide them toward God as the answer.
Embracing Frisbee and his followers, Smith opens his home and church to them. He sets an example for his congregation by washing the newcomers' bare feet, just as Jesus did. While some parishioners dislike this act and leave, others are in awe of the newcomers' genuineness.
The church sees a surge in newcomers and mass baptisms become a common sight on the shores of the Pacific Ocean. Smith’s promise is profound: "It’s not something to explain. It’s something to be experienced. What you’re seeing is a symbol of new life. Every doubt, every regret, all washed away forever."
The tale is largely from the perspective of Laurie (Joel Courtney), whose book was the foundation for the film. Initially an observer armed with his camera, Laurie is gradually drawn towards the sense of community, purpose, and spirituality offered by Smith and Frisbee. He is also charmed by Cathe (Anna Grace Barlow, compellingly genuine), whom he eventually marries in real life.
The movie, however, overlooks certain complexities. It fails to delve into the turbulent years depicted in the documentary, “Frisbee: The Life and Death of a Hippie Preacher.” While it promises forgiveness, freedom, and acceptance, it falls short of understanding the needs of its followers once they join the community.
The film, although proficiently crafted, remains superficial. Balancing acceptance, guidance, and repercussions while making everyone feel valued equally is a challenging endeavor. “Jesus Revolution” is more of an aspirational longing for an influx of new believers than a comprehensive study of their potential needs. As Jack Kornfield, from a different faith tradition, astutely put it: "after the ecstasy comes the laundry."
