While not as sharply written as “Facing the Giants,”
“Fireproof” is the more successful (in worldly terms) film, partly because of
the co-marketing of The Love Dare and other popular “Christian self-help” or
study group materials, as well as a novelization of the film; but probably
mostly because this was the first Kendrick film to include an actual celebrity
“star”—a “name,” as they say.
Kirk Cameron’s person and talents are favorite subjects
of ridicule from secular critics—being openly Christian in Hollywood has got to
be the modern equivalent of being Daniel in the pit of lions. . . or, perhaps
more appropriately for this film, of being Shadrach, Meshach, or Abednego in
the furnace. But at least in this film
(I haven’t seen the “Left Behind” series yet), that ridicule is definitely not
deserved. Cameron’s Caleb is an
uncompromising performance, rising above the limitations of many of his scene
partners (again, everybody else is a church volunteer), and above the sometimes
clunky dialog (not terribly so, just in comparison to “Giants”).
Although I feared that adorable Kirk
might not be willing to sacrifice his “good guy” persona should the role
require it, this was an unfair underestimation of Cameron’s craft as an
actor. Caleb is a complete and utter
(and totally believable) bastard to his wife at the outset of the film, and his
transformation is a journey well worth following. Although his boyish looks initially work
against our accepting him as the Captain of the firehouse, he simply owns his
responsibility there, and soon enough we’re as on-board as his crew in
respecting him as a competent firefighter and leader. His genuine, vulnerable apology to his wife
near the end of the film “leaves it all on the field”—well done.
While most of the other actors in the film again turn
in sincere, but not soaring, performances, I do want to mention Ken Bevel as Cameron’s
closest friend. Watching the film, I assumed
he was also a “hired hand,” and was surprised to see that he was “just” another
church volunteer. Strong, genuine
presence and performance.
These guys are clearly picking up speed as they
literally learn to make movies as they go.
There is some deft and even truly scary movie making here: the “he said/she said” scene is cleverly
written and edited, and the train rescue scene is a real pulse-racer. The fire rescue scene (of course there is
one) felt like real peril, and the “While I’m Waiting” montage, if not soaring,
definitely has enough uplift to get off the ground (not to mention, making you
want to go check out Warren Barfield’s albums).
Another keeper from the Kendrick boys.
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