Lights, Camera, (Faith in) Action!

When the red carpet rolled out in front of the Royal Cinemas in Front Royal, Va., last Aug. 27, the students, alumni and faculty of nearby Christendom College got a little sense of how it feels to warrant the star treatment.

The occasion was the world premiere of Chorus — an independent film from Mirandum Pictures, which is largely the work of Christendom folk.

They were in good company: The only other world premiere hosted in Front Royal took place in 1950, when Bing Crosby and Frank Capra opened Riding High.

Chorus deals with college students searching for ways to make a difference in the world as they go about their normal, everyday lives. The filmmakers strive to show the impact individuals can make when they “do little things with great love,” as Blessed Mother Teresa so often said.

The triumvirate responsible for Chorus is Michael Powell, an alumnus now doing graduate studies at The Catholic University of America; Nicholas Mason, a current senior; and his brother Colin Mason, who’s taking this semester off. Christendom English professor and Academic Dean Patrick Keats was the film’s executive producer.

“We were looking at the problems we all have, how we really matter in the world,” explains Colin Mason. “The movie tries to address that with a solid answer.”

He’s quick to point out that the movie is not about Christendom College, although some scenes were indeed filmed on campus.

“The film is Catholic in its themes and deals with a small Catholic school, but it’s about people in general and how they react to life,” says Mason. “Mainly what came from Christendom is a kind of a philosophical chain on connecting with life in a meaningful way.”

The theme is reflected somewhat in the title, which purposely recalls the idea of the Greek chorus, a group of ordinary townspeople who stand apart from the story’s larger-than-life protagonists.

“The townspeople speak as one voice, reflecting the views and attitudes of normal, everyday people who can really rise to be heroic doing seemingly small things that truly go above and beyond the ordinary,” explains Mason.

But the initial reaction was far from ordinary. “The theater manager liked it so much,” adds Mason, “he moved it to his biggest screen and made it his premiere presentation.”

Captivating Catholicity

Chorus wasn’t the first film for these budding filmmakers. Executive Producer Keats had worked closely with the three — as well as others in the cast — as moderator of the college’s theater group. There, screenwriter Powell had directed major productions, and written and directed short sketches.

“Basically, this is a bunch of people strong in the faith, and we all share a commitment to the arts,” says Keats. “The arts are crucial in terms of the New Evangelization in the Church.”

“We’re all also of the opinion that Catholic art doesn’t have to be preachy and outwardly religious,” adds the dean. “One example is The Spitfire Grill. It’s very life-affirming and Catholic in its underpinnings, but it’s not overtly preachy.”

The Mirandum Films team had their first outing with a short, Hitchcock-inspired story called Discretion. Keats describes it as “a mystery thriller with strong moral elements.” 

Then they tackled the 2½-hour Chorus, whose Catholicity is more overt because the main characters are people trying to live their faith.

“Several powerful scenes involve people praying in the chapel,” says Keats. “You see clearly the power of prayer. Another powerful scene takes place in a confessional. Advice given ends up being crucial to the turning point of the plot.”

Even smaller roles have a critical place. Senior Annie Clark plays Katie, “the nice roommate who provides a bit of comic relief.”

“I did the read-through and I realized I was almost typecast,” says Clark. “So many things of Katie are really me. The part was practically written for me, although I don’t know if Mike Powell actually had me in mind.”

Clark found lessons branching from the theme that weren’t intended but became clear once the film premiered. Because much of the film looks professional despite its miniscule budget, Clark says, “A lot of people were surprised and pleased that a small group of Christendom people could produce” a work of such high caliber.

Celluloid Speaks

Senior philosophy major Julian Ahlquist played Phil, a pivotal character for the protagonist’s change of heart.

“Phil is based on a Chesterton character from his book Manalive,” explains Ahlquist. “The main character is struggling with the impact we can have on the world, asking, ‘What’s the meaning of life? Can we really do anything?’ Phil illuminates all the small details in life and puts a divine meaning to it.”

He sees Phil as the embodiment of what he has been studying in philosophy at Christendom, where his long list of commitments and activities would make many professional actors look like they’re standing still.

“Mike Powell, the director of the movie and an alumnus, really inspired me to live this full, active life,” says Ahlquist. “He apparently had all his spirituality in order. If you have your spirituality first, God will give you all the time to do everything else.”

As for the impact of the film, one local critic from a secular newspaper said he believed that Chorus, made for just $10,000, had the potential to be more affecting than a Hollywood film costing $80 million.

Keats describes the effect on a young man who walked up to one of the filmmakers after the premiere. He identified himself as non-Catholic and “not religious,” and expressed an interest in talking more about the film — and about the Catholic faith.

Chorus got him thinking about God, faith, deeper issues,” says Keats. “That’s the kind of impact we’d like to have.”

Staff writer Joseph Pronechen

writes from Trumbull, Connecticut.