Today I want to look at Bill Maher’s aggressive atheistic (or agnostic, I am not sure which) manifesto, Religulous. In it, Maher starts and ends standing upon the much-prophesied site of apocalypse: Megiddo. He—standing at the end of the world—informs the audience of religion’s destructive power and urges the under-represented minority of atheists and agnostics to make themselves heard. To everyone else Maher issues an ultimatum: “grow up or die.”
As I watched Maher’s trek across the world and his ineffective (but common) method of arguing with believers, I couldn’t help but think, “There is something else going on in this film. Something strange.”
Is this film Bill Maher’s soapbox? Of course it is. Ever since ABC canceled Politically Incorrect, Bill Maher has used most (if not all) of his media pull to exercise his first amendment rights—his soapbox privileges. His film, however, does something special: it turns Mr. Maher into the object of debate. In Religulous, William Maher Jr. is not presented as the tenacious and witty television icon we all know and love (or, perhaps, love to hate). Instead, we are confronted with a Bill Maher who has a personal grudge to settle.
Andrew O’hehir explains: …I gently tried to suggest to Maher [that] his scattershot and ad hominem attacks against many different forms of religious hypocrisy don’t add up to a coherent critique, and he’s not qualified to provide one. Any serious theologian from the mainstream Christian or Jewish traditions would have eaten his lunch for him, and that’s why we don’t see anybody like that in this film for more than a second or two.
It would seem Maher used the Religulous project as an opportunity to reduce the religious world into a sideshow attraction instead of opening channels of potential dialogue.
In this case that most of the interviewees were left pleading “no, no, no” and trying to get a word in. In Religulous, the interviewer sees the most airtime—his subjects take a back seat to an angry rant. I found myself asking: if Religulous is a documentary, then what is it a documentary of?
As Roger Ebert explains, This review is going to depend on one of my own deeply held beliefs: It’s not what the movie is about, it’s how it’s about it. This movie is about Bill Maher’s opinion of religion.
Most scenes look as if they were transplanted from Maher’s mind with all of the details preserved—thoughts of Charlton Heston in The Ten Commandments included. It is clear that Bill Maher is not only the star of his film, but he is also the subject of it.
Religious’ photography and editing preserve Maher’s position-as-subject throughout the film. Scenes often shift between the traditional documentary style (the interviewee speaks, the inquisitor obscured) and a less objective style (Bill Maher digs into his prey). Between scenes the audience is treated with anecdotes, snide commentary, and road footage. This self-aware style only draws more attention to the true subject of the documentary: it documents Bill Maher’s documentary, if that makes sense. Religulous is a meta-documentary, to word it in the most ridiculous way possible, and it documents Maher’s “spiritual journey” across the globe rather than the state of theist organizations.
To look at the public’s reaction to the film, Bill Maher “plays to his base” of non-believers, angers the religious (as can be expected), and annoys anyone with formal training in the Philosophy of Religion. The film, then, documents just how he has pleased us, his manner of angering us, and the process of irking us. If I truly enjoyed the experience, it can only be in the perverse manner of reality television—but I am content none-the-less.