In God We Tru$t

In God We Tru$t is a 1980 American comedy film that delivers a scathing critique of modern-day televangelism and the intersection of faith and commercialism. The film stars a brilliant coterie of celebrated mid-Century comedy icons such as Marty Feldman, Peter Boyle, and Louise Lasser. Behind the camera, one finds the direction of Feldman himself, adding an additional layer of madness and genius to the whole production.

The story is centered on Brother Ambrose (Marty Feldman), a naive and innocent monk hailing from the Saint Ambrose Monastery. The monastery has fallen on hard times, and it's up to our protagonist to journey into an alien world to secure its survival. This world is teeming with charismatic, exploitatious televangelists, their zealous followers, and general urban strangeness. All of these forces contrast the cloistered isolation and ideals that Ambrose grew up with, making for a series of bizarre and comedic encounters.

In God We Tru$t blends religious satire with situational comedy. Marty Feldman's Brother Ambrose embarks on a journey like no other when he enters the world of televangelism to raise money for his debt-ridden monastery. Ambrose, reared within the confines of an austere monastic life, is as simple and pure as a newborn, thrust amidst the wolves of televangelism. Armed with nothing but his unwavering faith and trust in God, Ambrose is painted as the embodiment of pure, true religion, unswayed by the glitz, glamour, and lure of materialism that he encounters in the televangelistic world.

He lands in the lair of a flamboyant and crafty televangelist, Armageddon T. Thunderbird (Peter Boyle), who is every bit as outrageous as his name suggests. Boyle paints a larger-than-life caricature of televangelists as predatory characters, using faith as a tool for personal gain. Thunderbird's televised religion is more of a theatrical spectacle, staged in a church that resembles a television studio more than a house of worship. Aided by a mysterious and equally deceitful partner, Dr. Sebastian Melmoth (Andy Kaufman), Thunderbird represents the commercialization and exploitation of faith and religion on television.

The film also introduces us to Mary (Louise Lasser), a streetwalker with a heart of gold. Mary's character provides a foil to Ambrose's monastic purity and innocence, showcasing a different aspect of the moral spectrum. Although more accustomed to the harsh realities of the urban world, she still exudes virtues of compassion, kindness, and honesty. The dynamics between Ambrose and Mary deliver a set of poignant moments, showcasing the intersection of faith, morality, and human connection.

Throughout the film, Marty Feldman employs a heavy dose of slapstick humor, witty dialogue, visual gags, and absurd situations, providing a topsy-turvy view of faith and money in modern society. The film is marked with ironic contrast and comedic exaggeration that pokes fun at the hypocrisies and fabricated reverence within the highly commercialized religion sector. The sharp criticism of televangelism and commentary on faith's commercialization is meshed with Feldman’s innate comedic timing and nuanced performance, creating an unforgettable blend of humor and thought-provoking satire.

In God We Tru$t provides more than mere entertainment. It holds a mirror to the eccentricities of televangelism and money-grubbing preachers, forcing viewers to question the purity of the messages being sold in the name of religion. The satire, while filled with comedic moments and one-liners, ultimately invites reflection on the role and representation of faith in society.

Feldman's adept direction brings out the best from his cast, delivering powerful and engaging performances throughout the movie. Boyle and Feldman have excellent chemistry, playing off each other's contrasting characters to add depth and hilarity to the story. The ever-talented Louise Lasser adds a touch of charm and empathy as the compassionate Mary.

In conclusion, In God We Tru$t exhibits a perfect mix of slapstick comedy, brilliant performance, and biting social commentary. The film stands as a time capsule piece, eternally pertinent in its critique of televangelism and its charismatic figures. It blends religious satire with comedic elements, staged against the backdrop of urban society in the late 20th century, creating a viewing experience that is both humorous and enlightening. Whether the viewers are fans of comedy, critiques of televangelism, or lovers of 80s cinema, this is a must-watch film.