Gestaboð Babettu er mynd sem margir meðlimir Deus ex cinema hafa í hávegum. Ég er einn þeirra. Mér þótti því fróðlegt að lesa skrif Söru Vaux í greininni Letters on Better Movies sem birtist í greinasafninu Reframing Theology and Film. Vaux skrifar meðal annars:
„If I were to list all possible approaches to the field of religion/theology and film, we only would need to examine the ways that Babette’s Feast has been analyzed since its appearance in 1987. It has been explored in the context of liturgical drama, feminist theology, biblical exposition, liberation theology, vocation and redemption, the multiple manifestations of love, the history of the Danish church, and political cinema.
Hún er líka áhugaverð sem prestamynd. Vaux bætir svo við:
It is the ultimate food movie, combining meal and message, its lush representations of the sensual pleasures of food preparation and consumption recalling the common meals of the early church. “Meal” suggests the meals of heaven: the drama of the Mass, the Seder, the meals of Ramadan, the hospitality of the Sikhs, and Abraham’s gracious welcoming of the three strangers in Genesis 18. Even for spectators who are not used to thinking in biblical or early church history terms, it far outclasses Tampopo, Eat Drink Man Woman, Like Water for Chocolate, and Lasse Hallström’s Chocolat for the sumpreme visual culinary feast.“ (bls. 91)
Þetta er svo sannarlega raunin. Enginn skyldi horfa á Gestaboð Babettu á fastandi maga