Much like Jesus Camp and others of the like, Silhouette City’s scenes are daunting to watch from outside of the box; observing force-fed, narrow-minded individuals who are quick to judge others before judging themselves is unsettling. With Silhouette City’s subject-matter in mind, it is evident that if this country needs one thing, it’s compromise—the abilities to agree to disagree, act as one cohesive unit, and to assign the people as first priority above special interests.
By no means is Silhouette City anti-American or anti-conservative; it’s simply enlightening. Obviously, the target objective is to educate the populace on the active “unseen spiritual war,” yet, some may say that the underhanded aim of the feature is to make viewers conscious of a connection between the Christian Right and certain states, political figures, and conservative mindsets. Nonetheless, the movement and its links in the chain are factual.
With its flood of ideas and facts, Silhouette City could have benefitted from the use of a voiceover/narrator; however, in a documentary style feature, typical voiceover use sometimes projects a slanted view. Even so, Silhouette City seems to be missing a line of glue to hold the picture in place. Perhaps additional guiding commentary from Robert J. Lifton’s objective viewpoint would have better cemented the perspectives.
On the other hand, its coverage of the Battle Cry recruitment video, “pervasive evangelism,” the thin line between pastoral care and evangelism, a young teenager saying “mortyr” instead of martyr, and the organization of Colorado Springs region shines a light on the scriptural and psychological effects of the extremists’ thirst for dominion no matter the cost. Silhouette’s City’s best moments are in the recollections and realization of former Covenant, Sword, & Arm of the Lord member Kerry Noble. The unfitting CGI animations, overuse of “City Upon a Hill,” and theatrical aspect ratio unfit for home-viewing are generally overshadowed by positives.
All-in-all, the highest praise goes to Ori Barel for his/her original score. The unvarying notes in the lower register suggest impending doom and aid in intensifying the extremism. The frequent sound of chimes/the tolling of a bell also adds to the apocalyptic aura. Most worthy of note is the orchestrated segment that provides the background during one of the film’s most revealing scenes. (This also plays without end on the film’s website.)
Yes, placing Silhouette City in an “Age of Terror” Colloquium Film Series is appropriate. While the film isn’t exactly horror, it is harrowing. The “terror” is enough to sound an alarm. Considering the military is being bred to fight for security and faith, as politicians push for power and evangelical explosions. And, when supporters continue to fuel the fire, you know “it’s getting bad.” What’s more, people are told to populate the Earth, spread the Gospel, and be intolerant?
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