“It
is our job to protect the children of the world. For as long as they believe in
us, we will guard them with our lives.”
Rise of the Guardians (2012)
How
has Dreamworks Animation managed it? The studio behind such exceptional motion
pictures as The Prince of Egypt, Shrek, and – a film which for
some time enjoyed the status of being my absolute favourite – How to Train
Your Dragon, has proved unable to persuade me, an unabashed fan of all
things animated, to pay money to see any of their original-story releases (i.e.
not including the sequel to HtTYD) for nearly the whole of the past five
years. Trailers for such titles as Turbo, Home, and The Boss
Baby have left me altogether uninspired to take a trip to the cinema.1
It probably doesn’t help that the last original-story release from the studio
that I did see, Rise of the Guardians, was … well, it was all
right. Nothing special.
The moon that constitutes Dreamworks Animation’s company logo appears in Rise of the Guardians practically as a character, which is entertainingly meta. |
Rise
of the Guardians is a dissonant, sprawling, hyperactive sort
of a film featuring a coalition of childhood myths – Father Christmas, the
Easter Bunny, the Tooth Fairy, the Sandman, and our protagonist Jack Frost – who
collaborate in defence of the joyous, carefree nature of childhood against the
newly-intensified fear-inducing activities of the Bogeyman, otherwise known as
Pitch Black. Our heroes possess, between them, a wealth of highly powerful
magic, so one wouldn’t have thought, perhaps, that one solitary adversary would
present all that much of a threat, but the trouble is that the Guardians’ power
has one fundamental weakness: it depends entirely on children believing in
them.
Pitch’s
strategy, therefore, is to sabotage the Guardians’ efforts to carry out those
activities by which they make their existence known to children: he kidnaps all
the Tooth Fairy’s subordinates so that they can no longer flit round collecting
children’s teeth, he destroys the Easter bunny’s stock of painted eggs so that
children attending Easter egg hunts are uniformly disappointed – and every time
a child stops believing in a Guardian, said Guardian is weakened. So Tooth’s
feathers begin to moult, and the Bunny is reduced from the size of an adult
human to that of an ordinary rabbit.
The
big final showdown of the film sees our variously dilapidated heroes confront
Pitch in a darkened suburban street. Beside them are a young boy called Jamie
and a collection of his friends, whose help the Guardians have enlisted along
the way.2
“You
think a few children can help you?” Pitch mocks, backdropped by an army of
shadowy nightmares. “Against this?”
Father
Christmas attempts to lift his staff against Pitch, but stumbles. Jamie gasps,
anxious, but Jack Frost and the Easter Bunny are quick to reassure him. “We’ll
protect you, mate,” asserts the latter, rather incongruously in view of his
puny size.
“Aw, you’ll
protect them?” echoes Pitch. “But who’ll protect you?”
Nobody
seems to have an answer, until we see a new resolve in Jamie’s eyes and he
steps forward: “I will.” The other children soon follow his lead until there is
a whole line of them standing in front of the Guardians.
Pitch,
unperturbed, sends a stream of nightmares straight at them – but when Jamie
thrusts out a hand against the nightmares, they turn into the golden good-dream
sand of the Sandman, familiar to us from earlier in the film. The process
continues and soon all the Guardians are looking a lot more like their usual
selves, upon which they start employing the full force of their magical
abilities against Pitch until he is defeated. The fact isn’t made totally
clear, but I think we have to assume that when the golden sand goes whizzing
all over the sky, it’s also causing numerous children to have dreams of such a
sort that they start believing in the Guardians again, thereby empowering the
Guardians to fulfil their duty of protecting those children from Pitch.
And this is probably about what you’d get if Father Christmas and the Sandman were for some reason conflated into one character... |
In
short, the Guardians are just as reliant on the children they are sworn to
protect as the children are on them. This, indeed, forms the heart of the film’s
storyline. And in this way, although the Guardians’ purpose, as stated in my
opening quotation, may sound terribly grand and assertive, the gist of it turns
out not to be ‘so long as the children of the world are young and naïve and
vulnerable enough to have need of us, we will guard them with our lives’ so
much as ‘we are literally entirely dependent on the children of the world
believing in us in order to be able to exercise any of our powers of protection
over them’. Which being so, is it even the Guardians who are really doing the
protecting? Or are they arguably just a convenient external agency by means of
which the children are, after all, able to protect themselves? One might,
perhaps, characterise the relationship between the Guardians and the children
as a mutually beneficial partnership, or even as a contract of service: the
currency of belief buys the service of protection. In any case, it’s with the
children, and their ability to choose to believe or not to, that the real power
in the equation rests. All of which surely renders these supposedly mighty protectors called the Guardians a bit … well,
a bit rubbish, frankly, doesn’t it?
So it’s
a very good thing that in the real world, we have a protector whose ability to
do what he does has absolutely nothing to do with how many people believe in
him. God’s relationship with his people is altogether different from the
Guardians’ with the children: it is not a mutually beneficial partnership,
because there’s no contribution we for our part could offer God that he might
possibly lack without us. He is the self-sufficient source of everything that
is, the eternal Trinity, the uncaused cause, satisfied in himself before
anything else existed, necessarily greater than all of it, and with absolute
power over every atom. How could the Creator of all lack anything, such that he
would be dependent on his creation to provide it? Such a thing would defy all
logic.
And
for this reason, it’s not on to approach God as if our belief in him, or any
practical manifestation thereof, could function as currency, in the same way
that the children’s belief in the Guardians does. The following is from Psalm
50:
Not
for your sacrifices do I rebuke you;
your burnt
offerings are continually before me.
I
will not accept a bull from your house
or goats
from your folds.
For
every beast of the forest is mine,
the cattle
on a thousand hills.
I
know all the birds of the hills,
and all
that moves in the field is mine.
If I
were hungry, I would not tell you,
for the
world and its fullness are mine.
Do I
eat the flesh of bulls
or drink
the blood of goats?3
Of
course, we don’t make animal sacrifices under the new covenant with Christ, but
that was what obedience to God’s commands looked like according to the covenant
with Israel as laid out in Torah, and so the same point applies now to any kind
of obedience we undertake with the expectation that we are somehow doing God a
favour, or presenting a bargaining chip, when in actual fact everything belongs to him already. In fact, it strikes me as even more
ludicrous to have this kind of attitude about a prayer or a Bible-reading
session or a morally sound decision or the mere reality of belief that
underlies all such things, than about a blood sacrifice. After all, blood
sacrifice was and remains the necessary means by which a holy God’s
relationship with unholy humans is established; these other things are actually
privileges bought by the establishment of that relationship – in our case, perfectly
and permanently through Christ’s death and resurrection. And yet I know I am
guilty of getting it in my head – vaguely, subtly, so that it’s hard to
acknowledge and reject the fact – that deigning to access such privileges
represents my giving God something he lacks. How mad is that? And how utterly
arrogant? Granted, it is of course true that God wants and desires and asks
obedience of his people, but the key thing to realise is that this is because
he has chosen to achieve his purpose of increasing his own glory through
us, not because we have something he needs in order to achieve that
purpose. Indeed, Psalm 50 continues:
Offer
to God a sacrifice of thanksgiving,
and perform
your vows to the Most High,
and
call upon me in the day of trouble;
I
will deliver you, and you shall glorify me.
The
way we glorify God is when he delivers us. He asks of us thanksgiving,
which by definition is an acknowledgement of our dependence on him rather than
the meeting of a need that he has. When the children in Rise of the
Guardians make a point of the fact that they believe in the Guardians, far from
testifying to the greatness of the latter, it exposes that the former are the
ones who really hold the cards; and likewise, if we think that our belief in
God or the obedience that follows therefrom is fulfilling his needs, we
don’t glorify him, but only fashion a false glory for ourselves. We reduce him –
to a greater or lesser extent – to a convenient external agency whereby a power
that really belongs to us might be exercised. If, on the other hand, we
recognise that we have nothing to offer, that all we can do is give thanks for good and
cry out for deliverance from evil, we witness with great clarity to the absoluteness of
God’s power, the willing generosity of his grace, that he is the only Saviour,
needed by all, needing none – and a much better guardian than anyone else could
ever be.
Footnotes
1
Although actually I just read the description for The Boss Baby on the
Dreamworks website, http://www.dreamworksanimation.com/film/,
and the mention of the words ‘unreliable narrator’ has already caused me to
think it might be worth a look after all…
2 Some
kind human has uploaded the scene to YouTube – in HD, indeed: https://www.youtube.com/watch?v=J-rBH4qSF0w.
3 I’m
a big fan of this one right now: https://www.biblegateway.com/passage/?search=psalm+50&version=ESVUK.