Hacksaw Ridge is about two things: religion (specifically, Christianity) and violence. It is not, for better or worse, about religious violence. Director Mel Gibson had spent the better part of the last twenty years pontificating about Jesus, his own come-to-Jesus-cum-anti-Judaism, so if this movie was to be about dying on That Hill, it was to be taken as an on-brand, but ultimately eye-rolling joke. Even worse, it was to be a joke about the life of a man whose bravery, religion, and selflessness in wartime saved dozens of lives and helped to propel the American victory in the Eastern Theatre.
Violence and religion, like everything else, deserve a healthy dose of comedy, but the evanescent tonal balance, critical for all directors, but more so for microscope attractor Gibson was critical. And if the film is going to be shockingly violent (see: Saving Private Ryan) it had better be compelling to watch. If the gore is overwhelming, it had better be accurate and respected. If the film is going to be a plus-one for religion as a pursuit, it had better be humanistic. Gibson strikes this balance well and also makes a compelling case for personal devotion to a Christian God without telling the audience that this is the only path. Continue reading “ Hacksaw Ridge”