Pray TV

Pray TV is an American satirical comedy about the world of televangelism, released in 1980. The movie universe reflects the tumultuous time period when cable TV was still new, and televangelism was on the rise. The film, directed by Rick Friedberg, is notable for its dark humor and its critique of the rampant commercialization and unethical behavior often associated with televangelism.

At the heart of the film stands Reverend John Rip-off, played brilliantly by Dabney Coleman. Rip-off is a charismatic revivalist preacher who uses religion as a cash cow. His character is a richly painted portrait of the devious, manipulative televangelist whose primary interest lies more in the money than the souls of his congregants. His character is a perfect vehicle to satirize the deceptive nature of televangelism.

Coleman is not alone in crafting this compelling narrative. Alongside him is a solid ensemble cast. Paul Cooper portrays Marvin Fleece, the shrewd owner and operator of a failing TV station. His character is a paramount example of unscrupulous businessmen who would go to any length, including exploiting religious faith, for their monetary gains.

Marvin Fleece stumbles upon a gold mine when he discovers Reverend John Rip-off. Their encounter leads to a new show, "The Prayer Hour," intended to rescue the drowning TV station. This show becomes the duo's golden goose, leading to financial windfall for Fleece and Rip-off. However, it's not long before their religious shenanigans and rampant greed begin taking a hilarious and dramatic toll on their lives and the lives of those around them.

The character of Liz Fleece, played by Rosemary Alexander, adds an emotional and personal touch to the story. Liz, Marvin's wife, is an earnest and devout individual who finds the Duplicitous dealings of her husband and Rip-off to be morally perturbing. Her character provides a counterpoint to the men's fraudulence and greed, showing an honest face of faith amidst the pool of deception.

Much of the film's appeal lies in its savage satire of televangelism, refusing to shy away from the explicit portrayal of the hypocrisy and deceit that often encircle it. Be it the phony miracle healing rituals, the exploitative fundraising, or the manipulation of the viewers' religious sentiments for personal gains—the film covers all, and more. The movie goes out of its way to expose the backstage shenanigans and the ruthless wheeling-dealing that were rampant during the era and which many allege still exist today.

For its time, Pray TV was quite far ahead, in both its bold theme and its satirical handling of the subject matter. It offers a critical commentary on the exploitation of faith and religious sentiments for financial gains, a phenomenon that was growing rapidly in the 1980s. At the same time, the narrative never strays too far from light humor and comic relief, and the wit and humor lace through each scene make it worth watching.

Both in the foreground and the background, the chaos of the televangelistic world is exploited for hilarious effect. Some of the movie’s best moments come from observing the quirky characters that surround the main leads. From faith-healers to gospel singers to fervent fans whose religious zeal dovetails conveniently into consumerism—each character serves as a caricature of the televangelistic world.

Let's talk about the performances. Dabney Coleman, known for his villainous roles in other films, is spot on as the deceptively charming Reverend Rip-off. His exaggerated and often malicious potrayal hits the right balance between absurdity and reality, making the character both chilling and funny. Paul Cooper, too, lends an exceptional performance as the shifty television operator who sees religion as a means to financial gain. His cynical, heartless portrayal brings out the ruthlessness of his character.

It's not just the actors who shine bright; so does the script by Friedberg and Dick Chudnow. They've infused the storyline with a finely tuned sense of comedy and satire, crafting a narrative that is funny, outrageous, and uncomfortably thought-provoking. Their screenplay balances the absurdity and the reality, keeping the viewers engaged till the end.

While the film may be a product of its time, reflecting the concerns and controversies surrounding televangelism in the 1980s, its themes and comedic satire are worth revisiting. Far from being a simple comedy flick about the commercialization of religion, Pray TV is a biting satire that doesn't pull any punches. In the end, the film is a relevant and entertaining exploration of the complex relationship between religion, media, and money.

In a nutshell, Pray TV is a mirthful satire of the televangelism of the '80s, featuring power-packed performances by Coleman, Cooper, and Alexander. The film manages to be both irreverent and probing, providing a humorous and thought-provoking window into the dubious world of televised religion. Whether you watch it for its curiosity value or its still-resonant themes, Pray TV is a worthy watch.