The Saints Came Marching Back

Despite all self-created obstacles, gung-ho filmmaker Troy Duffy will finally release the much anticipated, and questionably necessary, sequel to his cult-classic: THE BOONDOCK SAINTS. The platform-released sequel—meaning no one really knows how many theaters could eventually show it—opens later this month and is being met with fanboy fervor equal to…actually, given its limited budget and even more limited advertising campaign, there may be no equal. And here is the unequal problem: THE BOONDOCK SAINTS and it’s sequel, ALL SAINTS DAY, may just be the most religiously arrogant, if not racist, film(s) to receive this level of non-controversy.

The first film is easy to overlook as it was smothered by a thin story, mediocre acting, distracting casting and vigilante pretensions. Of course some, including a 9th grade version of myself, thought the Boston-Irish brothers’ badass tendencies (including interrupting church services, punching butch women, killing Russians, kitchen table surgery, giving Latin pre-mortem eulogies, etc) and an equally badass Irish/opera score easily won out during the entertaining buck fifty running time. The infamously-alienating writer/director, Troy Duffy, though would blame the Columbine shootings and other acts of gun-used madness of giving the film an initially cold reception. What Duffy and others should note though, is the influence another American tragedy (should have) had on the pair of “Saint” films.

Let’s for a moment take the terrorist group Al-Quaeda at their word and assume they were wholly responsible for the attacks on 9/11/01. Let’s also take their word that they did it for the reasons they say they did; that American infidels trespassed on sacred land in the 1990s and continue an immoral occupation of various holy lands. Whether it is to Americans or not, the resulting conflict all over the world is at least one-half a “holy war”. As immoral, hateful and reprehensible as the Muslim terrorists are, they are killing for what they believe is Allah’s word. Unfortunately for everyone, this belief is a call to action to kill evil-doers (i.e. Americans--and some of the more aggressive British).

Jump to Duffy’s gun-totting, foul-mouthed “Saint Universe” where two sons, their father and some Carnival worker in a wife-beater go around making every mob-employed Russian and Italian a bit more hole-y. Justification for this murderous crime spree? They are doing the work of God. This is not a case of them wanting personal revenge--as seen in KILL BILL, THE PUNISHER, GLADITOR, ONCE UPON A TIME IN THE WEST, THE GODFATHER, etc. The iconic brothers had lost no one prior to their numerous, premeditated murders. In fact, they hear the voice of God (through a preacher) echoing in their dreams early in the first film. And just because they say their prayers at night and live in an equally Christian-devoted city they can fill the air with lead to the delight of every American in the film and audience? If these boys had been darker and heard the word of Allah, they would be called religious fanatics and terrorists…because that’s exactly what they are. They are publicly killing people to scare the survivors. Textbook terrorism…if there was a textbook on terrorism.

So please, if not with this specific case, take to heart the idea of reversing cultural standpoints. When movie elitists (such as myself) complain about certain movies damning American movie-going audiences with rampant, uninhibited, violent or flatulent ignorance--just listen. It's the little things in movies--the little racism, sexism, phobias and cultural double standards--that affect audiences on various levels, only to be imitated in their real lives. Movies should inspire and continually raise the bar of entertainment, not pander to unchecked cultural arrogance.