1999’s “Dogma,” directed by Kevin Smith, was his fourth film as a groundbreaking independent filmmaker from New Jersey and undeniably his most contentious.
Without a doubt, “Dogma” stood out as the most debated movie of its particular year, leaving few other contenders in its wake. Anticipation for its premiere was hard to overlook.
Previously, the movie was abandoned by its initial publisher, Miramax, as it had already stirred up too much controversy, reminiscent of “Priest.” Before any public viewing, there were already demonstrations and protests against it.
Enhance the ensemble of prominent actors, generate anticipation over several months, receive unexpectedly positive buzz following its screening at Cannes Film Festival, and unveil a trailer that highlighted its uniqueness compared to other films from 1999. When viewers eventually watched it, they were taken aback by the discovery that, despite its edgy humor, Smith’s movie was in fact an affectionate tribute to his Catholic beliefs.
In the beginning, Smith’s narrative offers much to consider: The characters Loki and Bartleby, portrayed by Matt Damon and Ben Affleck, are fallen angels who have been living in Wisconsin as a form of purgatory. They devise a plan to alleviate their tormented lives. Meanwhile, a New Jersey Cardinal, played by George Carlin, reveals a revolutionary new image of the Son of God to the public. This aspect might be controversial; if it offends you, you may wish to stop reading at this point.
Additionally, we meet Bethany (Linda Fiorentino), a woman working at an abortion clinic whose mundane existence is turned upside down when she crosses paths with Metatron (Alan Rickman), a figure said to be the voice of God. Meanwhile, the duo Jay and Silent Bob (portrayed by Jason Mewes and Smith) – known for their lazy lifestyle and love for marijuana – have been bestowed with prophetic powers.
Bethany (Linda Fiorentino), employed at an abortion clinic, discovers a new world of opportunities upon her chance meeting with Metatron (Alan Rickman), who is believed to be the voice of God. As for Jay and Silent Bob (Jason Mewes and Smith), these pot-smoking buddies have been appointed prophets in this story.
Add Rufus, the 13th apostle (Chris Rock) and a monster that originates from a strip club toilet.
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Dogma” abounds in thoughts and intricate narratives. Picture a fusion of “Wings of Desire” (1987) and “South Park.” Viewing it feels like spying on an energetic group of boisterous theology scholars engaging in a heated, often vulgar discussion about divine possibilities.
Smith’s movie can be playful at times, tender at others, and remarkably captivating overall. Fundamentally, “Dogma” is honest and moving, offering plenty of big chuckles to offset moments that could have benefited from trimming or more attention in development.
For a low-budget indie, there’s a lot of movie here.
Kevin Smith’s groundbreaking and raw debut “Clerks” (1994) marked a significant leap forward, while the less popular follow-up “Mallrats” (1995) served as a transition into more commercially focused filmmaking. His third film, “Chasing Amy” (1997), showcased his ability to create a captivating love story centered around complex and emotionally turbulent characters.
Although “Dogma” can sometimes come across as crude and immature, it’s also bold, thought-provoking, and impassioned in its exploration of religious themes. Listening to these discussions, which form the heart of this film, is consistently engaging.
As the film’s premiere approached, demonstrators persistently argued that it was blasphemous. The uproar over this movie was swiftly deemed hypocritical: while there was minimal backlash against the openly anti-Catholic films “Stigma” and “End of Days,” both released in late 1999 with themes about Catholic conspiracies and corrupt church hierarchies, the film “Dogma” was singled out for criticism right away.
Initially, when it was initially released through Miramax, the film was often likened to “Priest” from 1995, a movie that stirred up controversy but failed to ignite much enthusiasm. This is because its performance at the box office and critical reception were largely unfavorable.
The boisterous crowd I attended the pre-release screening of “Dogma” with was predominantly composed of Kevin Smith enthusiasts and intrigued individuals who remained unfazed by rumors of widespread protests and criticism.
In terms of its thoughtful yet immature nature, “Dogma” bears a striking resemblance to “Monty Python’s Life of Brian” (1979), making it an engaging pairing with Smith’s “Red State” (2011) for a double feature.
Additionally, it upholds faith and spiritual values yet is vigilant against hypocrisy and those who misuse the confidence of the faithful for their own advantage.
In Smith’s narrative, there are numerous events and characters, making it difficult for me to remember that Bud Cort is part of the cast, despite his initial captivating appearance, as he appears infrequently throughout the movie.
The narrative structure of the story resembles “The Wizard of Oz,” where each new character introduces a layer to the plot. Scenes featuring Affleck and Damon are humorous and well-written, with their acting becoming more nuanced as the story unfolds.
In the story, Jay and Silent Bob continue to be Smith’s hidden strengths, but it’s Rickman and Rock who grab the spotlight in every scene they appear in.
In another words, I’ve never particularly enjoyed Fiorentino’s somber, utilitarian acting in this production, but her scene with Affleck on a train is undeniably captivating, significantly enhancing the overall movie. The climax is both ambitious and emotionally rewarding, and Smith effectively handles the film’s more somber aspects.
Or simply: While I haven’t been a big fan of Fiorentino’s subdued, practical acting in this movie, her scene with Affleck on a train is undoubtedly captivating and significantly improves it. The ending is both ambitious and emotionally fulfilling, and Smith skillfully manages the film’s darker moments.
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Howard Shore’s impressive music score carries much of the impact during action sequences, while Alanis Morissette’s “Still” stands as a remarkable song not recognized by Oscar nominations. The visual effects are unexpectedly well-done, and like other top films directed by Smith, it boasts plenty of memorable lines to quote.
As a cinephile, I must confess that “Dogma” felt stretched out for my taste. It could’ve benefited from a tighter edit, and some elements didn’t quite hit the mark for me. However, if you ask me, Kevin Smith’s following work, “Jay and Silent Bob Strike Back” (2001), not only surpasses it but also stands as Smith’s most hilarious creation to this day.
Regardless of whether “Dogma” failed to meet all pre-release hype and ultimately emerged as a witty yet bawdy comedy, the most effective moments showcase Smith’s talent as a sharp social observer, biting satirist, and accomplished artist.
With “Dogma” now playing in cinemas once again, after being unavailable on physical media or streaming platforms, this presents a great chance to revisit and judge its longevity. I suggest catching it with your friends for an engaging viewing experience that might spark some thought-provoking debates following the movie…or even provide opportunities to casually slip in phrases like “snootchie boochies”.
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2025-06-06 16:03