Rarely seen 'Corianton: A Story of Unholy Love, 1931, packs BYU's Varsity Theater

 

Review/observations by Doug Gibson

For about a couple decades, I had longed to view the early sound film "based" on a segment of The Book of Mormon. It's "Corianton: A Story of Unholy Love," 1931. With artistic license, it tells of Alma's somewhat troublesome son, Corianton, and his involvement with the harlot, Isabel. This is all part of Alma's letters to Corianton in Book of Alma, chapters 39-42.

Now that's not Isabel reclining and wearing very little in the poster above. But the woman -- an extra -- is in the film, and dressed as such. Corianton ... premiered in Salt Lake City and then promptly flopped at the box office. Ultimately, more money was likely earned by lawyers litigating over the film than at the box office. It's a low-budget black and white film that once aspired to be in color. The Great Depression cut fundraising severely, and it limps to its climax, with the final scenes - a battle between the Zoramites and the Righteous -- a mixture of stock footage from the 1922 big-budget film "Sodom and Gomorrha," and the Corianton ... film actors passionately fighting, arguing, and dying on what looks like a stage.

Nevertheless, I loved this film after watching a restored version that played at BYU's Varsity Theater the last Friday of January. The BYU Motion Picture Archives hosted the event, and the Varsity Theater was packed. (Granted there was no charge, but that's still a great crowd). Panelists -- including author/historian Ardis E. Parshall, and Ben Harry, curator of BYU's Motion Picture archives, provided commentary before and after the film.

(A lot of the back history of this film mentioned in this blog post, as well as many of its artistic merits, pro and con, was also observed by the panelists and noted in a book on Corianton edited by Parshall. Here is one still from the film, below.)

Parshall, by the way recently edited a book -- The Corianton Saga -- covering the history of the Corianton story adaptations. It was first a novella by LDS General Authority B.H. Roberts, titled Corianton: A Nephite Story, then adapted into a play by an eccentric Latter-day Saint named Orestes U. Bean, who developed an obsession with the story he had appropriated from Roberts, as well as another late-19th century Book of Mormon-themed novel titled, A Ship of Hagoth, by Julia A. McDonald.

The play was titled "Corianton." It played well in what is described as the "Mormon corridor," or areas heavily populated by Latter-day Saints. When its backers took the play to parts east of the Rocky Mountain West -- including New York City -- it failed. In New York City, Bean titled it "An Aztec Romance."

A little backstory: In the late 19th century, there was an effort from LDS leaders to create art from the Scriptures, and the church's doctrine and its early struggles. Besides the aforementioned books that resulted, there was Nephi Anderson's tale that included the pre-existence, Added Upon. That book was in my family's library as I was growing up. Besides novels there were plays and short stories. I recall reading one by Anderson in which a lazy LDS teenager -- too bored to attend church -- was thrust into a dream where he experiences the pre-Utah persecution of the Saints. This sort of "'Mormon Renaissance" was the precursor of the film, "Corianton: A Story of Unholy Love."

I know I am meandering so I'll try to get to the film. In the 1920s, an entrepreneur named Lester Park, after watching impressive films like "Ben Hur" gain notice, acclaim, and box-office money, decided that the story of Corianton would be box-office gold. The project was successful early, and even the tepid resulting film has evidences of the early money. It was filmed in New Jersey. Its music composer was from "Ben Hur," The film's orchestra music was overseen by the former head of the Metropolitan Opera Orchestra of New York City. Professional dancers were in the film, and the LDS Tabernacle Choir and Great Organ is heard in the film. I mentioned that an original idea was to shoot the film in color.

But, as mentioned, the money started to dry up. And there was a second problem; the play's mercurial, eccentric, odd, creator, the aforementioned Orestes Bean. He had finagled himself a lot of control over the production, which caused headaches for director Wilfrid North and the film crew. In fact, a lot of the film was shot in a hurry while Bean was off getting married, and absent from the set.

Corianton ... starts with the trial of Korihor. Corianton is a fan of the apostate, and critic of his father Alma. His faith is re-energized once he sees Korihor struck dumb and he goes off on his mission, with his brother Shiblon. Once with the Zoramites, though, he becomes too friendly with Zoramite nobleman, Prince Seantum. Seantum conspires with his mistress, Isobel, to get Coriantumr infatuated with her. The plan, which works to perfection, lures Coriantumr to a swinging Zoramite party where he's fed lots of wine by Isobel. Once his drunkeness is publicized by Seantum and others, the reputation of the missionaries is tarnished.

Prince Seantum is not in The Book of Mormon. Nor is a woman named Relia, a pious woman who is engaged to Shiblon but actually in love with Corianton. Meanwhile, Isobel, despite her treachery, falls in love with Corianton, who feels regret at what he has done. This all really upsets Seantum, who plots not only the murder of Corianton and Isobel, but plans to lead an army and destroy the righeous Nephites. The climax of the film is that battle.

I'm conditioned not to reveal the end of movies, which is kind of unfair since Harry told the audience at the Varsity Theater that there are no plans to release this film, as a DVD, or on YouTube, or on TV. However, interested readers can purchase the book Parshall edited, as it contains the entire film script.

This is not a traditionally good movie. I would give it 1.5 stars out of 4. But it's still so interesting to watch. If I could, I'd buy 40 copies and give them to likeminded friends. As Harry noted, "(the film) is a holdover from an earlier era." Pomp and majesty, and drama, and very loud talking is how the film conveys its religious message. It's not like films today which focus on emotion and deep spirituality to convey a religious message. As Harry noted, it's a lot like "Ben Hur" was in its religious delivery.

"We need to watch with one eye in 1931 and one eye in 2023," Harry added. (See another still from the film below.)

My opinion of the film is that it mixes three different artistic styles, the creaky, still under-developed sound technology of 1931, the pantomime, emotional style of silent cinema, and the loud, let's-project-our-voice-through-the-auditorium of the traditional stage. (Harry also noted a couple of these observations.)

Much of the overly emotional, tragedian (particularly from the actor who played Shiblon) acting in the film is risible today, and there were a dozen-plus incidents in the film that evoked respectful laughter.

As was noted by Parshall, an unhealthy influence of too much Orestes Bean found itself into the script as the film progresses. Suddenly, the actors started to talk in a Shakespearean manner. "(Bean liked) thees and thous," Parshall told the audience. Parshall does note that these were talented artists, on both sides of the camera.

Much of the film's faults are due to the lack of money as filming progressed. The "Beanish" script didn't help, and the normal-for-the-times overly dramatic, tragedy-like lamenting over-acting doesn't go over well today, and invites giggles from the audience. Those who have read The Book of Mormon, I feel comfortable saying, won't see "Korihor," or "Alma," in the actors on the screen.

One favorable note for this film is it underscores the progressive nature of Mormonism when it comes to salvation. During the climax, actors express their confidence that God will forgive them of their sins, accept their repentence, and welcome them to heaven. In fact, one character claims that he received revelation that Korihor had been saved.

Also, the two leads, Eric Alden as Corianton, and Theo Pennington, as Zoan Ze Isabel, are great in their roles. (In what strikes me as humorous, I learned at the film showing that Bean's wife eventually changed her name to Zoan Ze Isabel. Bean, by the way, in the latter years of his life, lectured on his play/movie extensively in southern California, to large crowds. He had a missionary zeal for it.)

Finally, I want to mention one more interesting fact about "Corianton: A Story of Unholy Love." It's a fairly racy film, although that was not uncommon in that film era. There are many dancers dressed like the woman in the above poster. And there is a scene, where an angry Corianton is confronting a penitent Isobel, where Theo Pennington is visibly nude under a thin negligee. One panelist, I cannot recall which, did opine that box office receipts likely dropped after parents had second thoughts about children attending. Frankly, the film would probably garner a PG or PG-13 today, or soft R if the MPAA was in a prudish mood.

I am so glad I saw this historical gemstone. It has so much much value, particular for the cultural history of Mormonism. I appreciate Parshall, Terry and others for publicizing the film and restoring it. It played a decade or so ago at BYU but I missed it. This newer restored version include subtitles, which was helpful. The audience clearly appreciated the film. Harry promised the film will eventually get another showing, and said that a new print has been discovered in California, under a different title. 

(Below, one more still/poster, with the leads "Corianton" and "Isobel.")

Acid Test: LSD vs. LDS is an '80s Mormon punk conversion memoir

Review by Doug Gibson

"Acid Test LSD vs. LDS," 2020, Zarahemla Books, is a long-awaited memoir from Mormon writer, editor and publisher, Christopher Bigelow. At its foundation, it's a re-conversion tale. The author chucks away his Mormon faith -- proclaiming it bland and conformist -- after graduating high school, and re-converts after a short spell of trying to acclimate himself to what he describes as a "chaotic neutral" existence, to use a Dungeons and Dragons term.

The seeking-to-be-"chaotic-neutral" period involves sampling or observing modes of life his religion prohibits, or frowns on: including semi-communal living, a brief sojourn back to his childhood area, Southern California, drug use (particularly LSD), shunning higher education, scattered low-paying work life, attempts at a punk lifestyle, launching a punk 'zine that focuses more on critical thought than reviews and interviews,  fornication, mooching from parents, satanism, petty theft, and homosexuality.

At its heart though, "Acid Test," I suspect, is an homage to an era of Salt Lake City counterculture of the mid-1980s, when the city boasted an often unique punk and New Wave culture, with local bands, and musical venues and clubs filled with younger adults embracing a movement at odds with Mormon culture, and for that matter, Reaganism. Even readers, such as myself, with musical tastes that never approach punk, will smile with nostalgia as Bigelow recalls journeys to Cosmic Aeroplane shop or the Blue Mouse theater. This was also the era of Mormon conman/murderer Mark Hofmann, scamming gullible LDS Church leaders with fake memorabilia, and bombing people to death.

It really was a crazy time.

The very young Bigelow packed a lot of life into the short time this memoir covers. In Salt Lake area lodgings that eventually became packed with friends and squatters, he stayed in several locations. At times the reader forgets he's a youngster, 17 when the tale starts. He has an endearing immaturity mixed with an unfeigned quest to challenge conventions. At the beginning, nothing frightens him. Even the occult is a subject worth exploring.

The author's family history is etched in Mormon history, Heber C. Kimball, Brigham Young, and many more, all related to the author. The teenage Bigelow is perceptive enough to understand that the corporate-life LDS Church he shunned in 1984 was once a progressive, way-out-of-the mainstream religion when Joseph Smith and Brigham Young were its prophets. Many early church policies and doctrines we don't talk much about today fascinate Bigelow and his adventures in Acid Test seem an effort to connect with the spiritual bohemianism of his early-LDS ancestors

For someone who has never taken LSD, Bigelow's vivid descriptions of what the world appears like to an LSD user tripping is fascinating and almost, but not quite, tempts this reviewer to sample it. However, later in the memoir, Bigelow's enthusiasm for drugs is tempered, replaced by a fear that it's a tool of dark entities to lead souls away from spirituality.

Bigelow was already an accomplished 'zine publisher as a high school student. In Acid Test, he recounts efforts to start a 'zine, called Flourishing Wasteland. After a spotty start, he works very hard on issue 2. However, his interest wanes and then concludes as he begins a re-conversion to the LDS Church.

The author's effort to cast aside concepts of good, and evil start to shake a bit after he takes LSD a lot. He senses deception in his LSD experiences, questions how real they are. He is also fascinated with the Stephen King novel, "The Stand," which involves a near total loss of human life and survivors who gravitate toward locations with leaders who represent good and bad.

There is a central reason Bigelow returns to Mormonism, and this memoir (a trilogy is planned) ends with the author's mission approaching. I don't want to give away the distinct event that motivates Bigelow to give up an alternative lifestyle and return to staid Mormonism. Getting around that, reading Acid Test made me think about all those Bible-like quotes in the Book of Mormon that talk about a sinner being past the point of redemption and consigned to hell. I don't like any idea of a literal hell but Acid Test posits to me the possibility that those types of scriptures, in the Book of Mormon or The Bible, are talking not about a hypothetical lake of fire but instead a consistent state of wickedness that goes on too long, leaving the sinner devoid of grace, incapable of repentance, and redemption.

Another reason for the author's disillusionment for "chaotic neutral" is more simple. He loves a teenage girl. Her promiscuity causes him normal pain. He includes her in his re-conversion efforts. She joins in the effort but the relationship seems shaky as the memoir ends.

Bigelow is a very talented writer. I read a review that compared Tom Wolfe's "The Electric Kool-Aid Acid Test" to the memoir. It's probably apt but I thought more of George Orwell's memoir/fiction when I was reading. Bigelow's conflicted thoughts, yearning for a meaning, and despair of a shaky love reminded me Orwell's "Burmese Days." His at-times narrative, matter-of-fact, without-self-pity accounts of unpleasant circumstances (including a date with middle-aged male "chicken-hawk" ) remind me of the style of Orwell's 'Down and Out in Paris and London."

Late in the book, Bigelow laments that, for the most part, he's not getting the spiritual charge he's led himself to believe that conversion to the faith promises. The Scriptures are a tough slog, church meetings are still regimented, even the Temple lacks the spiritual manifestations that others have talked of. It's a reminder that spiritual experiences are rare commodities for most of us, and that endurance is a more valuable tool toward church activity.

Bigelow grew up in a family with parents that represent an earlier generation follower of Mormonism, one that talked more of the Three Nephites, of Cain roaming the earth, of White Horse Prophecies, and demons struggling to lead us into darkness. Each life is a battle between good and evil. Spiritual manifestations seemed to be more common in "those days." Bigelow mentions his mother having several spirit observances. On a side note, my parents were that way. My late mother once told me she saw the Savior's profile in the temple.

Ultimately, these traditionalist Mormons serve as a catalyst for the author's return to his family's faith. They never abandoned their son, and were often ready to provide assistance. This underscores another strength of the memoir; that love is still a commandment, even if the recipient is not living as parents, or others, might wish they lived. Some of the characters in Acid Test had depressing futures and ends. Others had better futures. Some of them did not receive unconditional love.

You can buy Acid Test LSD vs. LDS via Amazon here.

The Singles Ward remains the ultimate fun Mormon in-joke movie

I wrote this review/analysis more than nine years ago but decided to rescue it from Google Wayback to place on the blog. -- Doug Gibson

--

I recently watched, for maybe the 10th time, the 2002 Halestorm film “The Singles Ward.” I love this film. It’s by far the best insider Mormon in-joke movie. It’s actually funny; most Mormon comedies aren’t.

If you are an active Latter-day Saint who has spent time in a singles ward, you’ll likely laugh a lot. If you are not LDS, it will likely bore you.

I’ll just spend a moment with the plot. It involves a divorced, semi-active LDS single Jonathan Jordan (Will Swenson), who works as a stand up comedian. In “plot device 45653” he meets a devout, gorgeous LDS coed Cammie Giles (Connie Young), who likes to speak her mind. They argue a lot, and eventually hit it off. They are surrounded by a horde of stereotypical LDS young adults who are funny because, like a grifter, there’s a little bit of truth to their stereotypes. There’s the computer geek, the rustic mechanic, the pretentious LDS coed who eventually marries the rustic mechanic, the delusional nerd, who of course ends up with a sexy wife, the naive, hickish missionary-to-be … and you get the picture.

“The Singles Ward,” because it’s a Halestorm film, invariably has a few “faith-promoting” scenes, but they are kept to a minimum, so the film is rarely boring. In one of the funniest scenes in the genre, Jonathan, in the Salt Lake City apartment of a cute bartender (Michelle Ainge) and full of bad intentions, opens her curtains to see a full view of the LDS Salt Lake City temple (with the proper music and all).

“The Singles Ward” also has a pretty good cast. Swenson is now a star on Broadway. He was nominated for a Tony Award for his performance in the revival of “Hair,” where he shows off a lot more skin than he does in “Singles Ward.” Young has had an unspectacular but consistent career over two decades. She has gained cult status with her performance as a teen in the “worst film” perennial “Troll 2” and appeared in the critically acclaimed documentary on the film, “Best Worst Movie.” Her most recent film was “Christmas Angel.” And LDS perennial film star Kirby Heyborne has had occasional success out of the genre he’s “famous” for.

Perhaps the most unique characteristic of “Singles Ward” is counting all the celebrities, major and minor, who made cameo appearances. I can’t think of a film that has this many.
They are (and I could have missed one or two) Wally Joyner, Richard Dutcher, Danny Ainge, Shawn Bradley, Jimmy Chunga, LaVell Edwards, Ron McBride (As Brother Giles … Cammie’s dad!!), Steve Young, Johnny Biscuit, Thurl Bailey, Julie Stoffer, Gordon Jump, Jason Buck, Ty Mattingly, Jared Hess and Dell Schanze.

And where else can you find a film where a bit player (Charisse Miller) is called “Sweet Spirit” in the credits.

There was a sequel to “The Singles Ward,” called, appropriately “The Singles 2nd Ward.” It involves Heyborne’s now-returned missionary, Dallen Martin, back at BYU as a religion professor and finding love with a gorgeous, sassy LDS student, Christine (Erin Chambers) … whatever. Did I mention these films are also LDS male fantasies?

It’s almost as much fun as the first “Singles Ward,” and Swenson, Young and the others make cameo appearances. Chambers, according to imdb.com, has an impressively long acting resume that includes stints on “Cold Case,” “Medium” and “Without a Trace.”

-- Doug Gibson

-- Originally published at StandardBlogs