REVIEW: Michael Moriarty's 'Hitler Meets Christ'

It is one of the most troubling theological questions imaginable: is God’s love so all-encompassing even a monster like Hitler can find forgiveness? While theoretical to us, the issue takes on momentous urgency for two delusional homeless men who believe they are Adolph Hitler and Jesus Christ. It is a primal confrontation between the will to power and the power of love in Hitler Meets Christ, Brendan Keown’s independent film treatment of Big Hollywood contributor Michael Moriarty’s screenplay adapted from his original stage play Hitler and Christ Meet Death at the Port Authority Bus Terminal, now available on DVD.

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Relocated from New York, the delusional Hitler and Christ now encounter each other in the seedier environs of Vancouver. The contrast between them is immediately striking. The Christ figure is neatly dressed, and essentially rational in his discourse, aside from his obvious identity crisis. By contrast, Hitler is slovenly, crude, and erratic. While on one level it makes sense their outward appearance would reflect the relative peace of their souls, one would expect the exact opposite from most “indie” films. It would be the martial Hitler who would be clean and presentable, whereas the Christ would be unkempt and widely emotional in his arguments. Yet, Moriarty has more surprises in store for the viewer.

In terms of plot, Meets is relatively simple. The two men meet and engage in moral-metaphysical debate. However, the implications of their sparring are truly far-reaching. Can the Christ surrogate make the Hitler stand-in seek absolution and recognize the horrors of Hitler’s crimes for what they were? Or will this self-loathing Hitler successfully force his gentle companion to hate him as well.

Clearly, there are some sensitive issues broached in Meets, including a provocative but respectful interpretation of the Holocaust, unlike any viewers are likely to have heard before. Indeed, it is worth noting Elie Weisel encouraged Moriarty, an Emmy winner for the groundbreaking Holocaust miniseries, to pursue a full production of his play after attending an early reading.

Frankly, Meets may not be to the tastes of all Big Hollywood readers. Watching it brings to mind some of the defenses offered on behalf of Martin Scorsese’s The Last Temptation of Christ, except Moriarty’s film really seeks to deepen faith through challenging questions (although some sexual references and the ultimate ending are a bit problematic in this regard). However, not everyone wants to see a film that engages such faith so directly and that is perfectly understandable.

Regardless of its symbolic content, Meets is highly effective cinema. Giving himself the thankless role of Hitler, Moriarty is simultaneously frightening and tragically pathetic. He is perfectly counter-balanced by Wyatt Page as the ostensive Jesus, conveying conviction without descending into cartoonish fanaticism.

Lensed in an evocative black-and-white by A. Jonathan Benny (a filmmaker in his own right, whose short Peaceful Propaganda unflatteringly presented an anti-Bush protest as though it were a vintage 1930’s fascist demonstration), Meets is visually striking. Its eerie, twilight atmosphere is further heightened by Hooman DePars haunting underscore, as well as selections from Moriarty’s own recordings.

Meets is not the sort of film you take out of the DVD player and promptly forget. Featuring two unforgettable co-lead performances, it is independent cinema at its most uncompromising. Those well accustomed to art-house and film festival fare should definitely catch up with it.