There’s something about Mary

MPAA Rating: PG
Reel Rating: 3 out of 5 reels

Christmas pageants were originally created by St. Francis of Assisi in the 13^th century because the Ayyubid caliphate had blocked pilgrims’ access to the Holy Land. Instead of traveling to Bethlehem, Christians could see Mary, the Wise Men, and the Angels at their local church.

Performed in the quiet of cold winter by cute small kids, these staples of the season are supposed to be nice, friendly, and uncontroversial–all qualities completely absent from the Herdman family, who this year threaten to destroy the local play. Yet, in their lack of manners and poor behavior, this ragamuffin family might teach this little village the “true meaning of Christmas.”

It’s December 1977, and the quiet Midwestern town of Emmanuel is celebrating the 75^th anniversary of its Christmas pageant, held every year by the local church of unspecified Protestant denomination. For the past twenty years, it has been directed by a crotchety Umbridge type, but, due to a recent injury, a full-time insecure mom Grace (Judy Greer) has taken over under the watchful eye of the community elders. Grace’s daughter Beth (Molly Wright) has performed the role of Mary for the past few years but now spends her time mostly avoiding the Herdmans, the “worst behaved kids in the world.”

This ungainly group of six minors–led by the red-headed firecracker Imogene (Beatrice Schneider)—is known for smoking cigars, cussing out adults, shoplifting, lighting random things on fire, and generally being mean to everyone they meet. I would blame the parents, but they are oddly absent whenever anyone comes knocking on their dilapidated door. Lured by the promise of free food, the kids attend the first pageant meeting and, to everyone’s horror, volunteer to be in the play. Imogene even weasels her way into the role of Mary. Not having the stamina to resist an unkempt twelve-year-old, Grace meekly allows it. Despite some initial shenanigans, Grace becomes determined–amidst resistance from fellow parents–to keep the Herdmans in the play, for their good and that of the whole community.

Based on the trailer, the poster, and my own experience of terrible Christian Christmas movies, I was not especially excited to see this movie. But, I was wrong, pleasantly so. While there is plenty of sappiness to go around, the acting is remarkably strong. I’ve always thought Greer, who has shined for twenty years as a background actor, deserved a leading role and takes full advantage of this role. Imogene also delivers an impressive performance as a preteen who was made to assume an incredible amount of responsibility for her age. Pageant is directed by Dallas Jenkins, the main creative force behind The Chosen (there are a few sneaky cameos from that series throughout the film). Whatever you think about that show’s theological prowess, he is a devout Christian who takes art seriously. While Pageant caters to a younger audience, it invites serious reflection of the Nativity, the poor, ostracism, forgiveness, and redemption.

Several times in the film, Imogene is found quietly staring at a painting of the Madonna and Child. It is the only time she isn’t spewing expletives or throwing snowballs. Grace confronts her just before the big performance. “What is it about her?” she asks gently. “She’s just so sweet, gentle, and kind. Maybe, maybe by being Mary…I could be sweet. I could be pretty.”

Grace then proceeds to explain that Mary was not unlike Imogene. She was young when thrust into a tremendous role. She was poor. She had to sacrifice a lot, travel far, and give birth in a dirty stable. Yet she was the mother of the King. Throughout the centuries, everyone worldwide has been attracted to this young Jewish woman. Her maternal love for Her Son–and us—astounds the imagination. Mary suffers. She fights. She is as real in her intercession for us now as she was two millennia ago. For many centuries, Protestants have been somewhat disdainful of Catholic Marian devotion. Yet, since the thaw of the Second Vatican Council, more and more Protestants are starting to recognize that there’s just “something about” her.

There’s no excusing the Herdman’s behavior, but Christ came into this world precisely for people like them. It is implied that their father is gone, and their mother “works all the time,” leaving the children unsupervised and unloved most hours of the day. Grace doesn’t want the pageant to be a boring, meaningless tradition but a living celebration of Christ’s Incarnation. Thus, the Herdmans are precisely the people who should be in the play. We are supposed to go “to the margins,” as Pope Francis is fond of saying, to find the lost and discarded.

The best films involve conversion in some capacity. George Bailey realizes he does have a wonderful life. Rick Blaine gives up his freedom and cynicism for his beloved. Through Grace’s brave embrace of the Herdmans both they and the town grow closer to God with a great pageant as an unexpected benefit. They live the namesake of their town: Emannuel, “God is with us.” When we reach out to others, sacrifice for the stranger, then Christ is coming into our world. He did then, He does now, and He will until the end.