Jason Deich 1 of 10
Brothers Catholic, Brothers Protestant:
Two Overlapping Worlds Imagined Through Film
Thesis. Brothers McMullen and A River Runs Through It support Greeley’s argument that Catholics
and Protestants imagine the world in different yet also overlapping ways.
Support.
1. A River Runs Through It illustrates a Protestant imagination through its story of a family who
left a struggling son in the hands of a distant and awe inspiring God.
2. In A River Runs Through It the brothers had the same kind of relationship with the river as
Protestants have with God: deep yet distant.
3. Brothers McMullen embodies a Catholic imagination through its story of how desire for
togetherness and loyalty to family, even when abusive, saves the brothers from destruction
and fuels their journey toward happiness.
Counterarguments.
1. A River Runs Through It displays a Catholic imagination because it tells its story through rich
metaphors from nature that point to God’s presence.
2. Brothers McMullen shows a character who decides to pursue his own happiness in an
individualistic manner more characteristic of Protestant imagination.
3. While Greeley argues that Catholics can have good sex life, in Brothers McMullen Leslie
shows why “Catholics can’t have a good sex life.”
Reply.
1. The first two counterarguments illustrate the kind of overlap between the two imaginations
which Greeley’s thesis predicts.
2. Leslie has not experienced the kind of sexual love that Greeley describes as fulfilling for
Catholics.
Road Map
1. First, I explain distinguishing characteristics of Protestant and Catholic imagination as
described by Brown and Greeley.
2. Second, I discuss how A River Runs Through It imagines the world in characteristically
Protestant ways and then how Brothers McMullen does so in characteristically Catholic ways.
3. Third, I examine the potential overlap between the two Christian traditions in each of these
films and show how this supports Greeley’s thesis.
Introduction
Distinguishing Protestant versus Catholic imagination is important for understanding the
workings of both religions. Creating this distinction therefore gives a deeper understanding of what
differentiates the two religions and the views of their members. This is a paper that will do just that; I
will define what each religion is and indicate how they differ. Through the use of film, I will explain
my reasoning and provide examples of the differences of both Protestantism and Catholicism. More
specifically Greeley’s thesis - that both traditions are similar but yet also very different - will be
explored and analyzed through the use of film. Ultimately, this paper will look at and dissect two
different religious thought processes, their respective perspectives on life and how our livelihood
should be tackled.
Jason Deich 2 of 10
Two Traditions of Imagination
First lets breakdown the ideals of Protestantism. Protestants see the divine as absolutely
central. “Christ is Lord” is the key denominator here. Author Robert Brown writes in his book The
Spirit of Protestantism, “This [Christ is Lord] is the most positive and direct way to describing the
spirit of Protestantism – it is allegiance to Jesus Christ as Lord” (Brown, 41). Protestants view Christ
as the absolute truth, whereby everything and everyone is subject to him. Thus the ideal of looking up
to another identity, or more aptly, being committed to someone else, is in essence dethroning Christ
and putting someone else in his place. It is a highly disciplined outlook. There are no other gods than
him. He his absolute – there is no substitution. In short, when one applies the term “Lord” to a person,
it is to acknowledge that single person as being or having utmost supremacy and occupying a place
that no one else can fill (Brown, 42-44).
The church itself is seen as an identity with its own livelihood. It has its own life span, a
livelihood that can and will let down the lordship of Christ and the commandment, “You shall have no
other gods before me” (Brown, 42-44). Ultimately, Protestants see the church as requiring judgment.
The ideal of reformation must be viewed as a process and be applied to the church constantly.
Protestants believe that the church and its members always need reforming (Brown, 44). Brown
comments, “Protestantism affirms the church must be shaken, judged, purged, and re-made…It cannot
be renewed once” (Brown, 45). Protestants see people as a vessel, in essence dependent on Him (the
treasure) therefore urging us to reform. Hence, the spirit of God (which gives life to the church) is
protecting us from the constant barrages of Satan. Thus, constant reformation is required as the church
is dependent on God’s grace. The idea of private judgment and deciding what comes to us rather than
what comes from us is important (Brown, 10). One makes the decision about the proclaimed gospel.
Protestants trust only that which is of God - His spirit will show the way as the power lies with Him;
not with us. It is important to understand the distinction: the hand of God equates to reformation. It is
not what humans will do, but what God does through humans: “The transcendent power belongs to
God and not to us” (Brown, 49).
Since the church doesn’t possess God’s spirit, it is not sacred. It was created to be faithful to
Scripture. For Protestants, the word of God is key. They believe the church should only represent what
has Scriptural warrant. Scripture is how Protestants communicate or make contact with God. Greeley
Jason Deich 3 of 10
himself puts forth the view that Protestantism, “stresses the unlike” (Greeley, 9) between God and
ourselves or more so, “the absence of God from the world” (Greeley, 5). It is a distant relationship;
one that dissipates the presence of God in their lives.
Catholicism has more of a willingness to feel God’s presence in life. Rather than viewing God
as a distant figure, Catholicism has the notion that all reality is in fact evidence of His presence.
Tangible and finite realities especially are seen as instruments of God’s hand actively involved with
humanity. As Greeley states, Catholicism “chooses to emphasize the presence of God in the world”
(Greeley, 16). Catholic imagination, then, abounds with metaphors of His attendance in our lives.
Since metaphor plays a big part in the lives of Catholics, they see more than what is immediately
present. This is the presence and the distinctive force in Catholic imagination.
Catholicism pushes for a world of togetherness. They see community as ever important and in
turn structure is a very important component in their lives. Whereas Protestantism tends to push for
individualism and the need for separation, Catholicism brings together the community. Greeley states
it best: “Protestants are on the average, satisfied with being individualists and Catholics on the average
are satisfied with being communalists” (Greeley, 133). This is the way each group sees reality. For
Catholics, communalism was God’s way. Just as the loving union of man and woman brings the
dawning of a new life, so the community brings people to God’s love and to share in his love. They
see the community structure as the elixir to being part of God’s life. If one wants to share His love and
the power He emanates, the community will answer.
Catholicism is the belief that God works through people or more appropriately, through
secondary agents to achieve human salvation. Mediation can be seen in the “go-betweens” or all that
links humans to God. Unlike Protestantism, which sees God as an untouchable figure who is above
and beyond our reach, Catholicism imagines Him more in touch with and incorporated into our lives.
The idea of instruments, such as sacraments, priests, and the church, points toward vehicles of
salvation for all. Richard McBrien, clarifies such a stance: “For Catholicism, the church gives access
to Jesus Christ” (McBrien, 7). Hence, for Catholics, the church is a scared place and an avenue to
experience God. The ideal of God’s love being manifested through material things is the lifeblood of
Catholic imagination. Greeley expresses this idea by using the example of the sandwich: it is
physical, pleasurable and nutritious and “within it is love” and this shows God’s love (Greeley, 14).
Jason Deich 4 of 10
Ultimately, Greeley sees the sandwich as enchanted “because it is permeated by, dense in, awash with
two loves – human and divine.” This is the profound interaction Catholicism sees God having with
His people.
A Protestant Imagination Runs Through It
Both of these imaginations are expressed in the art of filmmaking. A River Runs Through It,
directed by Robert Redford is a story that depicts the relationship of two brothers over their path to
maturity and beyond. (See Appendix 1) Aside from the obvious elements such as the father being a
minister of a Presbyterian Church, the story indeed flows with Protestant overtones. The title itself
hints at the reverend respect the two brothers have for God and His abundance of power. The river not
only cuts through their land but it too, shows the deep presence God has in their lives. Norman (the
elder of the two) sees the river with deep reverence. In one scene where Paul (they younger brother)
steals a boat to race and conquer the river rapids, Norman and his friends are momentarily stuck in
awe at the extreme power and strength it has over them. The feeling wasn’t so much an embracing
one, but more so a “stand-offish” type of emotion. As Protestants have a deep, distant relationship
with God, so too did the boys have that sort of relationship with the river.
During Norman’s pursuit of education, he leaves home and ultimately Paul loses Norman’s
guidance. Paul begins a downward spiral of gambling and alcohol. Though his family is forever
conscious of his demons, they never do anything about it. Why is this? Is it because they see God as
distant and see Him with such deep veneration, that they leave it in His hands and only His hands?
The notion that Protestants trust God utterly leads me to believe that Paul’s family saw the answer
being in His spirit; God will show the way because the power lies with Him and only Him.
The end of the film leaves the viewer in limbo as to what should or could have been done to
solve Paul’s problem. An older Norman reminisces about Paul’s death, and whether or not he did the
right thing by doing nothing except loving him. He states, “I am haunted by waters” meaning more
that he is haunted by the past. Ultimately, Norman is questioning his faith and the passive road he
took. For Norman the question is forever a burdening one: Was leaving the answer to God enough? In
many ways it is a question that he will never answer. He is strong and forever dedicated to his faith,
but he too is forever carrying guilt for his brother’s death. The constant turmoil of a clear answer to
Jason Deich 5 of 10
suit both sides will leave such a question unanswered and thus, keep Norman at an intermediate state
wishing for more.
A Brotherhood of Catholic Imagination
The Brothers of McMullen, on the contrary, shows the religious thought process of
Catholicism. It is the story of three Irish, American brothers who have grown up together, supporting
each other through the tumultuous times they experienced due to their alcoholic, hurtful father. (See
Appendix 2). After his death, their mother tells Barry that she too is glad of his death and will move
back to Ireland to be with her one-true love who waited patiently for thirty-five years.
Apart from the fact that the movie is about three young Irish American Catholics, there are
some key scenes that show where the films intentions lie. In one such scene, the middle brother Barry
explains his mother’s life to his then fling, Audrey. He explains that his mother, like any good
Catholic woman, married a man for the safety of her unborn child - nothing more, nothing less. Her
true love was not her husband, but because of her pregnancy she knew she had no choice; she must get
married to the father of her child. Family structure and stability were more important than her personal
passion for her true love.
As Catholicism is a communally focused religion, so too was the essence of this film. Yes,
the basic concepts of Catholic faith were also present, but the wave of momentum of the film was
carried by the importance of friendship and family. Family was constantly pushed to the forefront.
Towards the end of the film, the three brothers are sitting around on the door steps of eldest brother
Jack’s house, reminiscing about stories of their adolescent past when there father was alive and
ferociously abusive. Ironically, it seems their loyalty to family kept them strong and resolute against
such odds. They have a deep desire for togetherness and that is what ultimately kept them from
personal destruction. Their feelings of mutual love allowed them to get through the hardest of times
and come through relatively unscathed.
The end of the film is most appropriate: it shows Barry finding his way in life. We see Barry
running out of his apartment trying to chase down his one true love; the love he almost lets get away.
With vivid, circling images of his community, the streets, and his home, Audrey is seen standing
behind him, bags fully packed, yet apparently totally relieved and happy to see that he had the desire
and love to be with her. Here was Barry, a man scared of his own Catholicism and the love that is its
Jason Deich 6 of 10
essence, finally breaking away from such a conundrum realizing that he is at the crossroads of losing
his other half, expressing his desire and need for her. The idea of having desire is fine. It is the
common denominator of human survival. This is a movie that is all about desire. It many ways, it
shows the desire people have for love and for each other. It shows how erotic desire is part of the
Catholic sensibility.
Catholic and Protestant: Two sides of One Coin?
The two films are very different in their origins. One can be seen more as transcending two
Christian traditions, whilst the other can be seen more as challenging its own tradition. With this in
mind, one can accept that both films confirm to the writings of Greeley. Greeley puts forth the thesis
that both traditions are similar but also in the same breath, different: “If there is a Catholic imagination
there is perforce a Protestant imagination” (Greeley, 19). Therefore, “To write about one is not to
oppose the other” (Greeley, 19). He believes that both coincide. In other words, if you see one, you
also see the other. A River Runs Through It illustrates such a synthesis. The Brothers McMullen is far
more subtle in this respect: there is far less evidence of this synthesis. In any event, Greeley’s view is
firmly supported and exemplified when the two films are considered together. They show that fusion
of the two traditions is possible. Yet both films still draw a distinct line between what each tradition
represents.
A River Runs Through It is a film fully equipped with metaphors. Constant images of nature
convey the beauty of the world and thereby allude to the abundant gifts of God. The river represents
the voice and stature of God and the divine power it has on their lives. The river is a metaphor for
what God is and the reverence evoked by such a figure. Further evidence can be found in the metaphor
of gambling and alcohol standing for the ravages of Satan’s power over humans and their debilitating
effect on the purity of our souls. Consider the recurring theme of a lack of initiative to help Paul from
his destructive ways. It points to a broken down society unable to help those who most need it and
who require social structures to assist in their recovery. There is also an element of the sacramental in
the fact that the father, as a minister, serves as the link between God and His people. Norman further
illustrates this concept of meditation on his return home: “My father’s words made me feel at home.”
Ultimately, the words spoken were God’s words. The river again serves a purpose greater than just
Jason Deich 7 of 10
being a pool of water – it represents God having a part in all things. Through the river His presence is
known.
While The Brothers of McMullen hints at a correlation to Protestant imagination, it more
clearly pushes and prods the Catholic tradition by posing questions about its contemporary relevance
at the personal as well the social level. For example, the film tackles the propensity of individuals to
feel daunted by the constant responsibility of Catholicism that is both family and community. Its
characters respond to this burden by doing what they need to do in order to feel alive and awake to the
life they are living. Youngest brother Patrick does just that when he decides to move to Los Angeles
with Leslie. Patrick is concerned with her abandonment of Catholicism, yet he insists that he now
doesn’t care about this. He is doing what makes him at ease. This suggests a need for a personal
decision as well as a need to do what was right for him and not everyone else. Is this selfish? Who
knows, but it is definitely individualistic - he is making a decision against the relevance of the gospel.
This is a minute parallel to the individualistic tendencies of Protestantism (to do what makes “I”
happy), but it is also a challenge to the constant communal responsibility that is Catholicism. To
further my point, Leslie tries to explain why she fell away from Catholicism by asking: “What is a
single Catholic girl to do?” She doesn’t want to get married, but feels pressured to. She isn’t,
according to Scripture, allowed to have pre-marital sex. If she does and gets pregnant, she can’t have
an abortion. Leslie then basically says, “I am not even allowed to masturbate.” For a Catholic woman,
full of emotion, desire and lust, she is in a position of frustrated turmoil.
Granted, both films are clearly tailored to one religion over the other. Yet there are distinct
parallels to the other religion. A River Runs through It seems to be more attentive to linking both
traditions, while The Brothers McMullen seems more content to ask and answer questions of its own
tradition. Although there is a hint of Protestant at play in this film, the questioning of Catholicism
takes center stage. Therefore one must proceed further and ask if there are other tensions between the
views of Greely and both films. A River Runs Through It does seem to showcase that constant
presence of God through metaphors in the story of a clearly Protestant family. To some extent the film
suggests that God is not as distant or as aloof as Greeley makes the Protestant God out to be. At times
the overlap with a Catholic imagination in the film seemed too great to describe the experience solely
with Greeley’s Protestant categories. For example, the metaphorical and sacramental scene in which
Jason Deich 8 of 10
Paul learns to use the current of the river (be it God) to live – at least while at one with the flow of that
Divine current – free of sin. In this uplifting scene, the way that Norman and his father watch on in
awe points toward a God who is entering intimately into their Protestant lives. In short, this defining
moment of the film challenges the purported boundaries between the distant, transcendent God of the
Protestant imagination, and the close, immanent God of the Catholic imagination.
Might The Brothers McMullen raise a similar challenge to Greeley account of how Catholics
and Protestants imagine erotic desire differently? For example, the sexually frustrated Leslie says
“Catholics can’t have a good sex life.” Perhaps this was just a comment made by a frustrated woman,
but doesn’t such a comment go against Greeley’s claim that, “Catholics have higher rates of sexual
love [than Protestants] because of the impact on them of the story of human passion as a hint of divine
passion” (Greeley, 85)? I don’t believe so. Leslie’s comment was from a woman who has yet to find
her true love and as of yet, is not even married. Thus, the kind of sexual love that Greeley describes
would be impossible for her to experience. It is something that she does not have and therefore it is
rather ludicrous for her to make such a statement.
In sum, both films do seem to indulge themselves with a serving of each other’s tradition.
Regardless of how small it is, there is overlap and therefore a truth to Greeley’s thesis properly
understood. Here, it is important to note that Greeley explicitly states that he agrees with David
Tracy’s claim that both Catholic and Protestant imagination need each other and in many instances
they overlap (Greeley, 20). Greeley comments, “Yet they are different – not completely different, but
somewhat different” (Greeley, 14). As Greeley’s thesis would predict, both films embody different
traditions of imagining the world, while at the same time pushing toward, at the very least, a
characteristic of their counterpart. In these two films Greeley’s claim – that to have one, equates to
having the other, rings true.
Works Cited
Brown, Robert McAfee. The Spirit of Protestantism. London: Oxford University Press,
1965.
Greeley, Andrew. The Catholic Imagination. Berkeley: University of California Press,
2000.
McBrien, Richard P., “Catholicism” in Richard P. McBrien, ed. The HarperCollins
Encyclopedia of Catholicism. San Francisco: HarperSanFrancisco, 1995.
Jason Deich 9 of 10
Appendix I: A River Run’s Through it
Directed by Robert Redford, this is a story set in the early 1900’s. It is a chronological
look at a family growing up in rural Montana where two boys, Paul and Norman learn life
through the teachings of their minister father. Their father is an avid fly-fisherman and through
his teachings so to are his boys. For the minister and his two boys, fly-fishing is a way to get in
touch with God (the metaphor of the river).
The story begins when both Paul and Norman are just young kids, approximately 8 to 10
years of age. Norman seems to have a greater grip on life, as to how he fits in, where as Paul is
undecided and always trying to test the boundaries of his father and his religious beliefs. One
scene shows Paul at the table, not wanting to eat his oats. His father states that Oats have been
God’s gift to men for 8,000 years. Paul however, doesn’t budge. He doesn’t want it. The signs of
dissention and confusion in Paul’s life are already evident. The last scene of their childhood sees
Norman and Paul lying on the bed of the river. They are discussing the common “what they want
to be when they grow up” phenomenon when Paul answers with the “I want to be a flyfisherman.” It is a dualistic answer. One, he has no idea, and secondly, he wants to be close to
God.
So the story fast forwards quickly to a time period when both Norman and Paul are
adolescents. Norman is now labeled a “preacher” by his friends, as it is a sign as to how he would
like to live his life. His brother meanwhile is always testing the waters so to speak. In one scene,
Paul, Norman and a few friends are down by the river, when Paul wants to take the river rapids
on and show that he can survive them. Much to Norman’s objections, Paul steals a boat and does
just that. Norman fearing for his brother’s life goes along for the ride, to be somewhat of a
protector. After the event, Paul is ecstatic with his accomplishment, whilst Norman is utterly
disappointed with his actions – he tested something so very powerful.
The film once again moves forward, explaining that both Paul and Newman go to
college; Norman goes away, where as Paul elects to stays home. This begins Paul’s downfall. His
brother is no longer there to be the ever present protector, and thus Paul begins drinking hard and
gambling obsessively. When Norman arrives home, he sees the changes in Paul, but he does
nothing. Both their parents also know of Paul’s extra-curricular activities, but they too are
passive. Both Norman and his parents long for Paul’s resurrection, but they have the trust that
God will lead the way. Regardless, both brothers remain close.
Paul’s problems truly come to a head, when Norman accompanies Paul to his local
hangout of alcohol and gambling. He then sees first hand the problems Paul is facing – the lure of
sin. It is here that Paul’s debt problems become explicitly apparent to his brother. Norman tries to
convince Paul to leave, yet he wants to stay. The power of sin is too great for him. Norman leaves
in disgust.
One of the most powerful scenes in recent memory now follows. The next day, Norman,
Paul and their father go to the river to fly fish and in some respects revert back to their earlier
years when life was much simpler. Paul has no luck, as he is trying to fish against the current (his
struggle with God). Yet, through the battle of reeling in a fish, he begins to follow the current. It
is a tumultuous battle; not so much with the fish, but more so his battle against the river and that
of God. He endures and at the end catches one of the healthiest sized fish he, his brother or his
minister father have ever seen. Both his father and Norman are in awe. Yet as beautiful as the
moment was, in the blink of an eye, Paul’s imperfections come rushing back into the forefront.
Paul is beaten to death, because of the large amounts of money he owes due to his gambling.
Following his death, his father expresses his regret in a sermon, by basically saying that we all
know we should help each other, but how?
The film ends with a much older Norman reminiscing over his life. He narrates his
regrets of not helping his brother when he needed it. Ultimately, Norman dies wondering just that,
whilst the film finishes with just that question: Is it enough just to love one another, or are we
required to help those who don’t want it? This is the question the viewer is left with.
Jason Deich 10 of 10
Appendix 2: The Brothers McMullen
This is a film orientated around the Catholic ideals of family, community and loyalty. It
is a story about three Irish American Catholic brothers each facing a different crisis in their life.
Eldest brother is Jack - a high school basketball coach who is married to an Irish American
woman, Molly (an English high school teacher.) There is middle brother Barry. He is unsure of
what he wants. He had a girlfriend (Anne), whom he had been with for 6 months. But his lack of
commitment saw them split up. Youngest brother Patrick has just graduated. His girlfriend
(Susan) wants to get an apartment together and talk marriage. He is unsure. He basically is uneasy
about moving in with his girlfriend. To Patrick it would be living a life of sin.
The film begins with the death of their father. Their mother has told Barry that she is
leaving to go back to Ireland, to meet up with her one true love of 35 years. She warns him,
“Promise you will never make the same mistake.” Now the story begins to unfold. Jack has
become bored and begins flirting with Anne, Barry’s ex. For further angst, Molly wants to begin
having children but Jack is not excited about such a step. Patrick meanwhile, is scared to move
forward with Susan. He used to think that she was it, the one to bring eternal happiness. Yet there
are problems. He is Catholic and she is Jewish. Arguments occur, and she decides it is time to
move on. Barry meanwhile, meets the woman who stole his apartment from under his nose. Her
name is Audrey. One can tell there is a connection of sorts between the two.
Barry and Patrick now move in with their brother, Jack. Jack might not like it, but he
understands that the focus of family and being together is a most important aspect of a Catholic
family. As Molly says, “Jack, there your brothers.” But this is the least of his problems. Through
a series of flirtatious meetings with Anne, Jack gives in to desire and cheats on Molly. The film
crisscrosses to Patrick as he meets up with an old neighborhood friend, Leslie. The two begin to
talk. Patrick uses her to expel all of his problems. It seems once again that the idea of community
structure has the answers. Meanwhile, Audrey and Barry become closer. He explains his mother’s
life - how she stayed and married their father because she was pregnant with Jack. So, “like any
good Catholic girl” she had responsibilities. This is the essence of Catholic responsibility; look
not after the needs of your own, but to the needs of others.
Jack meanwhile continues adultery. He says, “Do it now, deal with the guilt of it later.”
Yet, Jack confesses his infidelity to Patrick. He asks how bad of a sin it is. Patrick replies, “A big
time sin.” Thus, he questions his affair with Anne. With the writing on the wall, she breaks it off.
Leslie and Patrick continue to meet, discussing life and religion. Leslie discusses the reasons of
why she abandoned Catholicism. It seems the responsibilities of Catholic faith were too much.
Patrick’s life then turns upside down as he finds out that Susan is pregnant. She wants to have an
abortion. Patrick is of course neurotic with the situation: “I am going to hell” he exclaims.
However, Susan has a miscarriage. As morbid as it sounds, she seems excited; the weight
of sinning is off her shoulders. Patrick though can no longer be with her. He doesn’t love her
anymore - he loves Leslie. Molly now finds out about Jacks cheating ways but she does not want
a divorce – it’s not the Catholic thing to do. She wants to work it out. The crisscrossing continues.
Barry has fallen in love with Audrey. But he is scared of commitment. Patrick meanwhile,
decides to follow Leslie to LA. In what might seem a desertion of his Catholic responsibilities, he
says he is just simply following his heart. Through it all, the brothers remain close. The next
scene sees the three of them drinking beers (what else?) and reminiscing – about their lives and
their drunken, abusive father. It is clear now, why each one of them is in some way scared of
commitment – they don’t want to end up like him.
The film closes with Jack hugging his wife - indicating that they will fight through this
and be together. Barry however, is still questioning his relationship with Audrey. She says she is
not going to wait around like his mother and storms out of the apartment. Barry, for the first time
in his life, understands. This is his true love: he must stop her. The following scene shows frantic
visions of the streets, as Barry looks all over for her. With all hope seeming to be lost, he turns
and there she is, standing there smiling – almost appreciative that he has allowed his emotions to
finally shine through. The film ends with a spanning camera shot, depicting them kissing on a
four way street; in the midst of the community that gave them support, life and each other.