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ON FAITH & MEDIA View Comments

Glee The 3D Concert Movie

By
Joseph McAleer
Source: Catholic News Service

One of the more popular television programs of recent years leaps to the big screen with "Glee The 3D Concert Movie" (Fox), a documentary-style look at a live-performance tour by the show's ensemble that comes complete with backstage drama, screaming fans and some very loud music.

While its overarching message of love and tolerance may be well-intentioned, however, as directed by MTV veteran Kevin Tancharoen, "Glee" takes its hallmark "anything goes" attitude to moral excess by its endorsement of the homosexual lifestyle.

On the surface, the film, like its TV counterpart, appears to be innocent karaoke, with fresh-faced "teens" (most of them, in reality, well past high school age) expressing their inner angst and searching for acceptance by singing cover versions of popular songs by everyone from the Beatles to Barbra Streisand, Katy Perry and Lady Gaga.

More disturbingly, interspersed with the musical numbers are profiles of dedicated fans, called "Gleeks," whose lives have supposedly been transformed and given meaning by the show. These include a gay teen who is cruelly outed by his school fellows, and a perky dwarf cheerleader whose small stature proves no bar to becoming prom queen.

For Gleeks, we learn, "Glee" is their religion, a politically correct gospel of universal acceptance. Anyone can be a Gleek, regardless of race, gender, disability or sexual orientation. No one is a loser; everyone wins and takes center stage in life.

While obviously not a substitute for real faith, this credo could be, within proper limits, a good ethical message to instill in impressionable young people. But the inclusion of homosexuality among the categories by which teens are to be both defined and affirmed blurs the line between upholding the dignity of the individual and recognizing that certain sexual behavior must be rejected as immoral since, by its very nature, it detracts from the fullness of that same dignity.

While insisting on compassion and support for those with same-sex attraction, and condemning discrimination against them as individuals, the Catholic Church, in its faithfulness to Scripture and tradition, cannot condone—much less celebrate, as this movie does—the misguided choice to follow through on such an attraction.

The film contains explicit endorsement of the homosexual lifestyle as well as some provocative lyrics and dancing. The Catholic News Service classification is O—morally offensive. The Motion Picture Association of America rating is PG—parental guidance suggested. Some material may not be suitable for children.





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Philip Neri: Philip Neri was a sign of contradiction, combining popularity with piety against the background of a corrupt Rome and a disinterested clergy, the whole post-Renaissance malaise. 
<p>At an early age, he abandoned the chance to become a businessman, moved to Rome from Florence and devoted his life and individuality to God. After three years of philosophy and theology studies, he gave up any thought of ordination. The next 13 years were spent in a vocation unusual at the time—that of a layperson actively engaged in prayer and the apostolate. </p><p>As the Council of Trent (1545-63) was reforming the Church on a doctrinal level, Philip’s appealing personality was winning him friends from all levels of society, from beggars to cardinals. He rapidly gathered around himself a group of laypersons won over by his audacious spirituality. Initially they met as an informal prayer and discussion group, and also served poor people in Rome. </p><p>At the urging of his confessor, he was ordained a priest and soon became an outstanding confessor, gifted with the knack of piercing the pretenses and illusions of others, though always in a charitable manner and often with a joke. He arranged talks, discussions and prayers for his penitents in a room above the church. He sometimes led “excursions” to other churches, often with music and a picnic on the way. </p><p>Some of his followers became priests and lived together in community. This was the beginning of the Oratory, the religious institute he founded. A feature of their life was a daily afternoon service of four informal talks, with vernacular hymns and prayers. Giovanni Palestrina was one of Philip’s followers, and composed music for the services. </p><p>The Oratory was finally approved after suffering through a period of accusations of being an assembly of heretics, where laypersons preached and sang vernacular hymns! (Cardinal Newman founded the first English-speaking house of the Oratory three centuries later.) </p><p>Philip’s advice was sought by many of the prominent figures of his day. He is one of the influential figures of the Counter-Reformation, mainly for converting to personal holiness many of the influential people within the Church itself. His characteristic virtues were humility and gaiety.</p> American Catholic Blog We need do no more than we are doing at present; that is, to love divine Providence and abandon ourselves in his arms and heart.<br />—St. Padre Pio

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