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“Your work is novel, brilliant, and dangerous,” Dr. Alan Stone (Richard Gere), a psychiatrist, is told by his departmental superior while he is in the midst of conducting a series of revolutionary therapy sessions on three schizophrenic patients who have all come to believe they are Jesus Christ. Despite the fact that Jon Avnet’s (“Fried Green Tomatoes”) drama is based on Polish-American social psychologist Milton Rokeach’s groundbreaking work between 1959 and 1961 and his resulting case study book, “The Three Christs of Ypsilanti,” it unfortunately lacks the aforesaid freshness, smarts, and risk that Rokeach’s landmark group therapy experiment inherently possessed. Three Christs sacrifices those qualities in favor of frustratingly broad characters who come across as half-considered caricatures, and the sentimental and strings-heavy score by Jeff Russello suffocates any slight edge the film might have had.
Three Christs, which premiered at the 2017 Toronto International Film Festival, could have been so much more than a shallow “One Flew Over the Cuckoo’s Nest”-lite if the joint script by Avnet and Eric Nazarian had taken the time to define the three patients Dr. Stone observes in the same room together at a Michigan facility beyond their basic oddities and delusions. There are three self-proclaimed Christs: Clyde (Bradley Whitford), Joseph (Peter Dinklage), and Leon (Walton Goggins). Despite the fact that their characters are given very little depth on the page, their respective actors give their all to their respective roles. Clyde claims to be able to detect an unpleasant odor that no one else can detect, and he refers to himself as Jesus, but not from Nazareth. Despite the fact that both Joseph and Leon insist on being addressed by their righteous names, the former has a posh British accent and the latter has a constant sexual drive as well as an obsession with Dr. Stone’s young research assistant Becky, the two are not compatible (Charlotte Hope). Dr. Stone’s brilliant wife Ruth (Julianna Margulies), an ex-assistant to her husband who once sat in the associate chair Becky now occupies, is also a prominent figure in the proceedings.
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While Avnet briefly engages with the female experience in the field, his inspections don’t go much further than the casual sexism that the two generations of women are exposed to in their respective roles in the company of a man with a God complex, which is disappointing. In addition, the film could have been titled “Four Christs,” but that might have been a little too obvious. Though the film’s most significant flaw is a lack of understanding of the era’s cruel approach to psychotherapy—Dr. Stone compassionately launches his trials in direct opposition to the malicious electroshocks and heavy drugs of the time, and yet the groundbreaking nature of his work never really registers when the historical context around it is defined in basic good vs. evil terms—the film’s most significant strength is its portrayal of Dr. Stone as a pioneering figure in his field. Negligent plot diversions involving drugs and alcoholism, as well as simplistic dialogue lines (“Freud said there were two basic instincts,” says the author). “Who were they again?”), as well as an all-too-conventional framing device that foreshadows the tragedy to come, do nothing to alleviate the situation.
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Nonetheless, Gere’s charisma and Hope’s radiant presence keep things somewhat watchable, with occasional flourishes of humor among the three patients providing a jolt to the film when they collaborate on art and music projects. Tere Duncan’s warm, ’50s-inspired costume design is also noteworthy, as she has the foresight to repeat garments in order to construct a believable wardrobe for Becky. I wish that a little of that plausibility had rubbed off on the story, toning down its often ill-considered whimsy that doesn’t quite know how to approach its original material with the seriousness that it deserves.Also, you must try to play this The Case For Christ quiz.
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