Seeking for the good (in movies): Loveliness

This is the second in a series of posts about applying the standards of the thirteenth Article of Faith to film, both as audiences and creators. Having begun in part one to explore the concept of virtue and what makes a virtuous film, I now continue to the next part of the standard: loveliness.

Loveliness can be defined as the quality of charming or exquisite beauty, and certainly many films can be said to have that. When Christan Vuissa’s The Errand of Angels came out, I remember hearing comments about how much the film was enhanced by the delightful Austrian setting. In fact, I heard it said that it is impossible to make a bad film in Austria because of the splendor of the surroundings. The gorgeous cinematography of T.C. Christensen has graced several institutional Church films, as well as many others. Indeed, his crisp, rich style has become something of a hallmark in the official films of the Church, and conveys the clarity of the message these productions are designed to communicate.

But loveliness goes beyond mere visual beauty, reaching into the realm of that which also appeals to the heart or mind. Moral and spiritual beauty also lie within this domain. As possessors of great blessings and heirs to the guidance of the Holy Ghost, LDS filmmakers would seem to have a special (though not exclusive, I am quick to add) dispensation for this kind of thing, and I have seen many touching examples.

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