‘American Zion’ a Skillful Miss
While “The Work and the Glory: American Zion” is one of the more impressive LDS films yet released, its lack of storytelling ability hinders an otherwise worthwhile movie.
I really wanted to like this movie. The original “The Work and the Glory” was a surprisingly well-rounded film, so I had high hopes walking into this sequel. The casting, art direction and overall production value was impressive. What the filmmakers got on the screen was great to look at. Yet, the filmmakers seemed more concerned with historical volume and accuracy than with engrossing storytelling.
Still, this is a remarkable story. Elder Gerald L. Lund, an authority of The Church of Jesus Christ of Latter-day Saints, wrote the historical-fiction novel series that these films are based on. Lund’s story is about the fictional Steed family, whose lives change as they’re caught up with the historically accurate beginnings of the LDS church. In the first film, we saw Joseph Smith introduce his claim that he was a latter-day prophet, called to restore Christ’s church. Some of the Steeds converted – others didn’t. Mother Mary-Ann (Brenda Strong, “Desperate Housewives”) and level-headed Nathan (Alexander Carroll) follow Joseph, while patriarch Benjamin (Sam Hennings, “The Aviator”) and hot-headed Joshua (Eric Johnson, “Smallville”) are less-than believing. In fact, Joshua persecutes the new religion, ostracizing himself from the state, let alone his family. Joshua heads to Missouri, which then was at the edge of the frontier.
“American Zion” begins as the remaining Steeds migrate west to a place Joseph calls Zion. Amid fatal weather and mobs, the Mormons find little rest as they work to establish communities and build a temple. The Steed family once again finds itself on both sides of the confrontation: Joshua fights to drive the Saints from Missouri while the Steeds defend the faith and try to unite their family.
“American Zion” is about … well, it’s hard to say. If anything, it’s more a historical account than a thematic story. What it should have been about is the struggles of maintaining one’s faith amid adversity. “Zion” touches on this point, but not enough to give the film emotional payoff. Whether in the screenplay or editing bay, the film should have been altered in one of two ways: First, lengthen the film (see Peter Jackson’s “Lord of the Rings”). Or second, compress some scenes while lengthening others. Some of the best films know when to alternate tension and calm. I’m sure this is difficult – especially when dealing with a series, but attention to fundamentals is what makes great movies great.
Yet while ‘Zion’ lacks good structure, it overcompensates with great casting, high production value, solid direction and simply great execution. If you watched the “Into the West” recent TV series, you’ll see many familiar faces that can act. In particular, Michael Bowen (“Walking Tall”) worked great as a local agitator and the Mormon leaders, including Parley Pratt and Brigham Young, are portrayed with charisma and charm. And nearly every scene is highlighted with beautiful scenery (the film was largely shot in Tennessee) set designs and buzzing background activity that reflects the robustness the church had even in its beginnings. Lastly, the scenes were executed well and praise is likely due to new director (to this series, anyway) Sterling Van Wagenen, co-founder with Robert Redford of the Sundance Film Festival.
“Zion” is an adept movie built on a shaky foundation. Hopefully, the next installment will be built upon a rock.
Chris Blakesley is a film critic for the Utah Statesman. Comments can be sent to him at cblakes@cc.usu.edu.