I wasn’t raised religious. My mother is a Protestant, and my father is Jewish. I’ve gone to church on Easter and synagogue for some high holidays and bar/bat mitzvahs. I lit the candles for Hanukkah and sang Christmas carols. I’ve experienced the various rituals and traditions that come with Christianity and Judaism, but I’m not religious. I’ve never read the Bible, yet I am familiar enough with most stories that come from it.
Director Jeymes Samuel burst onto the scene in 2021 with the Netflix western The Harder They Fall—one of the most inspired and energetic movies of that year. Samuel infused a somewhat tired and ignored western genre with a gusto that made it undeniable. Along with showing off his incredible stylistic choices, Samuel also showed he can command a top tier. It’s one of the best directorial debuts of this young decade.
To follow up his dynamite debut, Samuel decided to put his unique touch on another oft ignored genre: the biblical epic. This kind of swords & sandals production has gifted us such classics as Cecil B. DeMille’s The Ten Commandments and William Wyler’s Ben-Hur, yet in recent years stumbled with big budget spectacles like Ridley Scott’s Exodus: Gods and Kings and Timur Bekmanbetov’s ill-advised Ben-Hur remake. The Book Of Clarence plays like a greatest hits list of the “The Greatest Story Ever Told” by way of Monty Python’s Life Of Brian, though it does so with far more wit and verve suited for a modern audience. By employing a cast of mostly black actors, it also attempts to correct the whitewashed history of this genre, bringing with it relevant and topical themes of today.
The film follows the titular Clarence (Lakeith Stanfield), a certifiable screwup who always gets into schemes that don’t pay off. He and his best friend, Elijah (RJ Cyler, as effortlessly charming as always), have just lost a race against Mary Magdalene (Teyana Taylor), and now he owes a lot of money to a violent man nicknamed Jedediah the Terrible. His first scheme to try and solve his money issues is an attempt to becoming the thirtheenth apostle of Jesus Christ of Nazareth (stoically played by Nicholas Pinnock). However, he is shut down by the other apostles, including his own twin brother Thomas (Stanfield, spectacular in duel roles). Without faith, how could he obtain protection let alone become one of the closest followers of the supposed son of God?
As a non-believer, Clarence believes that in life, what matters most is not faith but rather knowledge. If it is provably factual, then it is right, while he scoffs at mere belief. But to take advantage of others’ faith, Clarence devises a plan to trick people into thinking he is also a Messiah. This scheme comes with cons like pretending he can bring sight to the blind and raise the dead. As you may probably guess, things do not go according to plan.
Among the many themes Samuel explores in this film, some do feel more blasphemous than others. However, the film ultimately lands as firmly faith-affirming. Since there is no way to know everything, sometimes all you can have is faith. On the downside, there are some tonal imbalances that hinder the film. The first and second halves do not quite coalesce into a satisfying whole, but the themes and message do wrap up cleanly. The film is also bolstered by another great performance by Stanfield, and because of it, The Book of Clarence is able to take its ambitious messiness and turn it into something memorable.
While the tone may be uneven and story points a bit of a mess, the film never forgets it is first and foremost a comedy—an incredibly smart one at that. Most of the punchlines hit with a precision that evoke some belly-laughs while still functioning as a bold Biblical satire that leaves you thinking about it long after it is over. It is also worth noting that the film looks great too. This is thanks to frequent Alex Garland collaborator (and Mission: Impossible – Fallout cinematographer) Rob Hardy behind the lens.
Other performances of note include Omar Sy as the allegedly immortal gladiator slave Barabbas, who brings a fun energy to the film, while James McAvoy is clearly having a great time as Pontius Pilate. And without spoiling, while Benedict Cumberbatch caps off the main cast list in a small role, he makes the most of his time on screen, eliciting some of the biggest reactions from my entire theater in a very memorable appearance.
Despite some flaws, The Book of Clarence is an ambitious sophomore effort by one of the most exciting new voices working today. I’d rather a filmmaker take the clout they received from a great first feature and try to challenge the audience in this way than end up with the same run-of-the-mill outcome that we’ve seen so many times before. And while I may not be religious, I believe in great talent, and I believe in Jeymes Samuel.
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