False Appearances

The immediately obvious flaw in the film is the apparent fact that it begs the question of the nature of faith healing. When the lame child "walks", we don't know if this is a real cure, or just the result of the over-charged emotional, almost hysterical, atmosphere. Similarly, the exact reason for Jenny's inability to talk is glossed over. The question of whether it was hysterical or physical in origin is carefully evaded. In the case of the child, one feels that the next day would bring a return of the affliction.

But I don't know if begging the question is legitimate charge to level at this picture, for it does not claim to be a case study of the psychology of belief. Instead it uses the emotional excesses of evangelism as a back-drop for its love story. From the viewpoint of cinematic technique, there are many satisfying things about It, especially the opening sequences arranged around the titles.

What was mishandled badly later on in The Innocents, here is most effective. With the screen in total blackness, the soundtrack gives us a gradually increasing in volume, amateurishly played version of "Onward, Christian Soldiers." Suddenly, close-ups of ecstatic worshippers and preacher appear on the screen in a long tracking shot. The atmosphere of heat and hysteria is overpoweringly irresistible and the music changes to the handclapping and rhythm that is so close to the roots of jazz. There is a cut suddenly to the closeup of a young man and girl kissing feverishly outside on the grass. This admirably suggests the basis for the exuberance of the worshippers—an abandonment to physical excitement.

Nothing else the director (Paul Wendkos) achieves later in the film quite matches the style of these opening scenes, but he does produce a lot of other deft touches of imagination. For instance, when Paul (George Hamilton) is preaching about Delilah and Jenny (Salome Jens) is evoking her in a tin-pot charade, the whole tatty scene takes on a deeper significance for Paul and his wife.