From Amos Vogel’s Film as a Subversive Art:
This deceptively humorous cinema verite study of a travelling evangelist emerges as a ruthless expose of an aspect of America’s national psyche, with implications far beyond its immediate subject matter. Marjoe began by performing marriage ceremonies at the age of four (seen in marvelous newsreels of the time) and graduated to fame on the “Holy Roller” Pentecostal circuit, throwing women into convulsions, performing miracles, providing sex substitutes and mass therapy to the countless victimized poor and ignorant who flock to his meetings with their offerings. While the sequences of a prancing Mick Jagger imitation (complete with rock rhythms and brimstone) and of his huge and suffering audience in themselves constitute an impressive achievement of non-fiction cinema, simultaneous private interviews reveal the fiery evangelist to be a cynical atheist and hedonist, with contempt for his “work” and at best an ambiguous solicitude for his flock.Read More »
