Christof is “the creator.” From his base in the sky, he looks down on Truman as his star “son” grows to a Christ-like 30 years of age. He is protected from all harm, yet terrified of anything that might aid his escape from the ante-world he inhabits. When he slips the cameras and begins to make his way across the water, Christof, still not wanting to relinquish the ruse, throws a storm at Truman’s sailboat, striking it repeatedly with lightning. “Hit him again,” he growls to his crew. “Again!” It is difficult to watch as the loving god is angered to the point of destroying his only son. When Truman literally reaches the end of his world, he walks on the water to reach the stairway to heaven. Metaphors are flying thick and fast. Christof breaks in as a voice from the sky to convince Truman that his life will be perfect if he continues to pretend that reality is only what it seems to be. His devoted fans cheer as Truman ascends and walks through that door into another reality.
Many books on the theology of film have appeared over the past decade as it has become clear that people are very much affected by what they see on the screen. Our brains resonate with what we are seeing to such a degree that movies participate in our perceptions of reality. In an increasingly secular world, we have come to distrust our gods. This truth has echoed through many movies in the past several years. Although not living up to the hype, The Clash of the Titans—the remake—had classical heroes disputing the power of the gods. Truman doesn’t go that far. We are never informed about what life after the delusion is like. The hole in the sky is black. We know that on the other side, our world, there will be terrible disappointments and tremendous sadness. It may be that there will be no gods at all on this side of the studio. Although showing its age a little, The Truman Show still speaks volumes about the religious experience.