Jonestown Documentary Analysis Essay

The other Jim Jones wears the scowl of a paranoid sadist. As a child, this Jim Jones (whose father was an unemployedalcoholic) conducted funerals for dead animals. A social outcast among whites, he found community in the Pentecostal church and preached on the revival circuit. Years later, he performed bogus faith healings.

Declaring that everyone in the community except himself was homosexual, he verbally coerced men and women into having sex with him and afterward told them he did it for them. At the same time, he discouraged liaisons among Temple members, asserting that sexual relationships were selfish and took away from the focus of the church.

One New Year’s Eve in California, he rehearsed the coming mass suicide by passing out punch to 126 people, then telling them they had just drunk poison and would die together as one. When nothing happened, he said it was a loyalty test.

After the church moved from the Redwood Valley to San Francisco, Mr. Jones became a political force whose support helped elect George Moscone the city’s mayor in 1975. But as the church grew in numbers and influence, Mr. Jones’s paranoia deepened. The night in 1977 that New West magazine went to press with an exposé of Peoples Temple based on defectors’ accounts, Mr. Jones fled for Jonestown, which was already under construction.

Some embraced it as a heaven on earth. But Mr. Jones also set up a speaker system through which he broadcast his paranoid ravings 24 hours a day. Before long, anyone who expressed a wish to leave was considered a traitor.

The end came suddenly, right after Leo Ryan, a California congressman, arrived in Jonestown on Nov. 17, 1978, to investigate complaints from constituents whose relatives had moved there. When Mr. Jones learned that several residents wanted to return with him to the United States, chaos erupted. As Representative Ryan’s plane was about to leave, he was one of five people who were killed on the airstrip. The mass suicide followed on the same day.

In hindsight, it may be convenient to view Jonestown as the most tragic manifestation of 1960’s utopianism run amok, and to imagine that in today’s tougher, more cynical social climate, it couldn’t happen. But as this powerful, minutely documented film reveals, the tragedy wasn’t caused by the failure of the Peoples Temple to realize its goals. In many ways, it was succeeding as a self-sufficient community.

Rather, the horror of Jonestown was caused by people’s willingness to surrender their reason to a madman who was also a charismatic manipulator. And that can happen anytime and anywhere.

JONESTOWN

The Life and Death of Peoples Temple

Opens today in Manhattan.

Produced and directed by Stanley Nelson; written by Noland Walker and Marcia Smith, based on a story by Ms. Smith; director of photography, Michael Chin; edited by Lewis Erskine; music by Tom Phillips; released by Seventh Art Releasing. At the Quad Cinema, 34 West 13th Street, Greenwich Village. Running time: 85 minutes. This film is not rated.

Jonestown: The Life and Death of Peoples Temple

NYT Critic’s Pick

  • DirectorStanley Nelson

  • WritersMarcia Smith, Noland Walker

  • StarsRebecca Moore, Janet Shular, Tim Carter, Stanley Clayton, Hue Fortson Jr.

  • Running Time1h 26m

  • GenresDocumentary, History

  • Movie data powered by IMDb.com
    Last updated: Nov 2, 2017
Continue reading the main story

"Nobody joins a cult," says a woman at the very beginning of Stanley Nelson's documentary "Jonestown: The Life and Death of Peoples Temple." "Nobody joins something they think is going to hurt them. You join a religious organization or you join a political movement, and you join with people that you really like."

And she's right: You may follow a charismatic leader or an ideology or a utopian vision (religious, political, racial), but you don't think think of your behavior as cultish. At least, not at the time. When you "drink the Kool-Aid" (the phrase that has entered our language because of Jones), you don't know you're drinking the Kool-Aid; you're just evolving to a higher level of consciousness, getting into synch with like-minded believers. And it doesn't feel like brainwashing; it feels like a revelation.

Advertisement

That's more or less what the Rev. Jim Jones, of the Peoples Temple Christian Church, was pushing when he persuaded 909 of his followers to kill themselves and their children by drinking poisoned punch at his self-named Guyana settlement on November 18, 1978. He urged them (captured on tapes used in this film) not to fear death but to embrace it as "an act of revolutionary suicide protesting the conditions of an inhuman world."

"Hurry, my children!" we hear Jones tell his people, including parents who are giving cyanide to their own babies. "It's nothing to death. It's just stepping over to another plane." And they believed him.

How could this happen? As another man says in the film: "When you live in a dysfunctional family, you think it's normal."

Jones began his church in Indiana, moved to Ukiah, Calif. (after reading an Esquire magazine story touting it as one of the nine places in the world that was most likely to survive a nuclear attack -- an assertion as reality-based as most of Jones' preaching), then to San Francisco, and finally to his own "heaven on earth": Jonestown, built from scratch in the jungles of Guyana.

Jones got his start on the Pentacostal revival circuit, but based his ministry on breaking down racial and economic barriers between people. His focus, as one former congregationalist explains it, "was taken from the Bible, where Jesus in his earliest days, told people to sell all things and have all things in common."

Jones said: "Jesus Christ had the most revolutionary teachings..." -- involving feeding the hungry, clothing the naked, taking in strangers, ministering to the poor, the elderly and the ill in their suffering -- "and we feel nobody has really tried Christianity too effectively, or the Judeo-Christian tradition."

Advertisement

The socialist preaching of Jesus doesn't get much play in the fundamentally materialist culture of America today, but the selfless appeal of Christian agape was strong in the revolutionary, idealistic political and social climate of the 1960s and 1970s. Some former church members still insist that the Peoples Temple had the makings of something great and world-changing, had Jones not taken it in a dark, megalomaniacal and self-destructive direction.

By the end, even many of his followers felt Jones had gone crazy -- with power, booze, drugs and sex. He insisted he was the world's only heterosexual, that everyone else was homosexual and in denial, and he would have sex with parishioners as a way to help them deal with it. In the last days of Jonestown, he broadcast his own drug-slurred ramblings throughout the compound 24 hours a day. This is not the joyously integrated assembly, the "black church with a white minister," that had originally attracted so many enthusiastic believers.

"Jonestown" is a thoroughly conventional documentary -- archival footage, images and voice recordings alternating with talking head interviews. (It was funded by PBS' "American Experience" series.) But this familiar format also emphasizes the movie's universality. For while it's about a particular, peculiar phenomenon, and a shattering, generation-defining tragedy of its time (particularly those many friends and relatives in the San Francisco Bay area), the madness depicted here is not limited to Jim Jones. It is, as the woman at the beginning of the film implies, the dark-side potential of any religious, political or ideological movement, especially a cult of personality built around the carefully constructed and maintained image of a strong or charismatic leader.

The face of Jim Jones is, from a slightly different angle, the face of Stalin or Mao, of Christian or Islamic fundamentalism, of Baathism or American neo-conservatism -- any kind of ideology, rooted in certainty and the arrogance of infallibility, pursued with singleminded fervor, intolerant of free thinking or dissent, and that results, inevitably, in deadly consequences.

That kind of thing didn't die in Jonestown.

Reveal Commentscomments powered by

0 Replies to “Jonestown Documentary Analysis Essay”

Lascia un Commento

L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *