Ben Stein squanders his credibility in an unfunny and barely-veiled attempt to apologize for Creationism to a captive audience.
Movie Review of Expelled: No Intelligence Allowed
Let me start by saying, I had to see this movie. No, I wasn’t forced by some physical means but I did feel compelled to see it even though that meant contributing $9.50 to its box office totals to do so. Of course I felt I couldn’t let this movie go by without reviewing it for Rational Alternative, and with it being such a big story on the atheist blogosphere, and its panning by the National Center for Science Education, it was, quite frankly, a train wreck I had to gaze upon myself.
Most of all, I was morbidly curious what my sometimes-hero, Ben Stein, had to say about the Intelligent Design debate in his movie Expelled: No Intelligence Allowed. I have to admit, I like Ben Stein; I really do. “Win Ben Stein’s Money” was my favorite show at the time it was on the air and I even attempted to get on the show as a contestant. I was taken by the personal mythology of a really bright guy who had crossed over from politics into showbiz, usually a one-way street heading the other direction. I have to admit I didn’t know anything about his politics or his theology, but I knew that he was one of the few celebrities who embodied intellectualism. His professorial image, tempered by his hip penchant for wearing sneakers with a suit and tie is a refreshing sight when so many stars that Hollywood offers up are dullards and bimbos.
But who knew he’d show up on the Intelligent Design side of the evolution debate? I assert that this is what he’s done, but if you were to ask him, he’d probably claim that this isn’t a movie that champions Intelligent Design per se, but rather a movie that tackles the apparent wall in science and academia that keeps out anybody even suspected of considering Intelligent Design a legitimate area of inquiry.
Stein begins and ends the film with a claim that this issue is really about freedom and liberty, the liberty of people to consider what they’d like to consider, and the freedom of inquiry to lead wherever the evidence takes them. Because, as the case is made in the film, where would science be if the academy refused to accept anything that contradicted established norms, such as accepting only Newtonian physics, and precluding the insights of Einstein. The film maintains through several interviews and episodic examples, that Intelligent Design is a valid point of inquiry that’s being suppressed by a conspiracy of Darwinists who deny tenure to, fire, or otherwise inhibit the work of apparently smart and innocent professors and teachers who are simply giving ID its due consternation.
The only problem with that possibly valid premise is that the rest of the film is a ridiculous hit job on the idea of Darwinian evolution and the academy that embraces it. Not during one second of the film is the evidence for Intelligent Design displayed, discussed or even so much as mentioned. Not one of the ID proponents even says they have ever seen any evidence for Intelligent Design. I guess they figure the evidence for ID should be self-evident to those who disbelieve Darwinian evolution.
Much time is devoted to how apparently silly and completely incredulous Darwinian evolution seems to the lay person, how utterly impossible such odds would be to even get a cell functioning by chance. One snarky animation portrays a hook-nosed Richard Dawkins trying to pull a slot machine lever to “roll” a working chain of amino acids that must be in a correct sequence, thousands of times over to work. The idea of Panspermia, the hypothesis that the blueprint for life was seeded on Earth by an extraterrestrial source, be it intelligent or otherwise, was trumpeted to the skies by the film, casting the well-respected scientists who related the details of the hypothesis as wacko alien theorists, a deliberate misrepresentation of what they were really saying, not that they believed it, but that it was remotely possible, and as scientists, they had to be open to considering it, a nuance lost on (or deliberately ignored by) Stein and surely lost on the film’s intended audience. Interviews with Daniel Dennet, P.Z. Myers, Christopher Hitchens and Richard Dawkins, to name the few I recognized by sight, were quote-mined for their most damning and aggressively anti-religious sounding words to paint a picture of atheist-scientists as soulless and uncaring and as unreasonable tyrants.
I have to consider that quotes from Dawkins such as “Evolution is a fact,” which I completely agree with in the context of evolution as an undeniable observable phenomenon, will play as venom to the film’s intended audience. And it is quite clear who the film’s intended audience is. Not needing to be explicit here, this is a Michael-Moore-stylized film made for those who are usually on the other side of such attacks who probably don’t care that the film wasn’t what you’d call, “unbiased.” The end scenes cut shots of Ronald Reagan saying “Tear down this wall!” with Stein making parallels about the apparent wall erected to keep ID out of academia. The founder of Planned Parenthood, obviously cast as a villain, was connected with Social Darwinists and the purveyors of the eugenics programs of Nazi Germany while the film makes the case that evil things happen when people, not God or nature, I assume, are allowed to decide who qualifies as a valid person or not and who is allowed to live. A not-so-casual correlation is drawn between a person’s interest in science and their eventual path to atheism; each of film’s scientist interviewees willingly admits to that being true for them. Of course, comparisons to Hitler and Stalin are nothing new for atheists, however the movie reaches a new low by giving that tired argument a fresh twist: not that Hitler was merely atheist (which he wasn’t) and therefore evil, but rather that Hitler was evil because he applied Darwin’s theories in his regime and by association, all others who believe Darwin’s theories have the same capacity for such evil.
At 1000 theaters, Expelled had the widest release of any documentary ever, breaking the previous record holder, Michael Moore’s Sicko. One wonders what feat of distribution got this film into so many theaters, considering that it was withheld from critics in advance of the April 18th release and any pre-screenings were closely-guarded affairs, such as the one that P.Z. Myers got kicked out of at the Mall of America. (Richard Dawkins, who didn’t pre-register wasn’t recognized and saw the film along with Myers’ family.) It’s interesting to note that this movie is playing on very few screens in large metropolitan areas and is concentrated instead, in theaters in small towns and in the rural areas of the country.
Few of the circumstances cited above on their own can be shown to demonstrate a less than noble attempt by the film’s makers to release a modern day propaganda film under the guise of an intellectual documentary about freedom of inquiry. Alone, they simply equal bad and biased film making. But in concert together, they betray a very clear and undeniable motive to send a message to a very specific audience. Cultural, political and social “dog whistles,” coded language and images calculated to seem unremarkable to the average person but are shrewdly designed to resonate with specific audiences, are blown from the very start of the movie until its end. It’s crystal clear that this film’s intended audience is from small towns and rural America, audiences for whom Ronald Regan is a hero and Planned Parenthood, a villain, audiences who’d love to hear proof that interest in science causes atheism and Hitler’s and Stalin’s regimes are what arise when people embrace Darwinian ideas and audiences who are desperate for someone with a bit of intellectual credibility to take their side and create their own slick mock-umentary to fight back against the liberal elite. That is quite a captive audience indeed. I’m sure this film’s captive audience is eating this up, taking notes and forevermore when scientists attempt to have an argument about the validity of ID, they’ll hear apologizers citing freedom of inquiry and making claims that proponents of evolution are suppressing their liberty and perhaps the most horrifying prospect of all, is that we’ll hear quotes from this movie parroted over and over again.
A worse sin than any of that was that this movie was boring. It lingered on minor details far too long, much is made out of Ben Stein’s walk around a city block looking for the Discovery Institute, they spend at least a tenth of the movie on a tour of the place where the Nazis euthanized the undesirables in the eugenics program; here and there were pointless animations, cuts to ridiculous stock footage of old-timey people punching each other and doing other silly things, apparently pantomiming where the film’s makers felt the ideas were a little too complicated. Stein is known as a jokester and most of his previous roles have been in the comedy genre, but the only laughs to be had in this film, for me anyways, were surely unintended by the filmmakers; I was laughing at the movie, not with it. The Angus Young-inspired, rebellious school boy image that was plastered all over this film’s posters and website was wholly absent in the film, no jokes were cracked, only a somber and patronizing Stein knowingly smirking when he hears juicy quotes from unsuspecting scientists on the record that he knows will make great fodder in his movie.
There is always something creepy and disingenuous when the establishment tries to paint itself as the oppressed minority and avails itself of the tools of the powerless: satire, wit and caricature. This sort of guerilla-style, one-sided documentary is only tolerable when the filmmakers are truly underdogs. Picture a fat, unkempt Michael Moore in Roger and Me trying to land interviews with CEOs by accosting them on street corners because security wouldn’t let him near the building. That’s not a deliberate style, it’s because he is a fat, sweaty guy and they really wouldn’t let him in the building. It’s credible because you can see the guy’s determination on his face and its bias is acceptable because the audience understands that the deck is stacked so far against this underdog that we can allow the filmmaker a few liberties to even the playing field. That’s what satire is about, allowing the little guy to undercut the big guy with the only tool he has, his earnest wit. Stein, in his suit and tie, cozying up with college professors while jet setting around the globe, jaunting about picturesque campuses and quaint European streets, is hardly an underdog in this undoubtedly well-financed and expertly-marketed film. When this sort of film comes from the ground up, it’s empowering, when it comes from the top down, it’s propaganda.
What reasonable person can swallow for a second that the Judeo-Christian worldview is held by some sort of persecuted minority in America, arguably the most religious nation in the developed world led by an outspoken evangelical Christian? Doesn’t Stein know that a majority of the American public already doesn’t believe in evolution and churches are funded many times moreover than universities? What imaginary battle does he think he’s fighting? The scientific academy isn’t some tyrannical institution poised to crush the puny little churches with its heavy elephant leg, forcing them out of the scientific debate once and for all. That image would be laughable if only it weren’t so ironically and lamentably backwards; the scientific academy is truly a much-besieged bastion of free inquiry. This film could be seen as a signal that the faithful intend to invade and, with this film, its financiers, directors, producers, and yes, even Ben Stein, may intend to rally their captivated troops to storm the ivory towers.