What is that peculiar sound I hear? I do believe it is the sound of my heart singing, nay, exalting for joy! In The Last Sin Eater (the latest collaboration of Fox Faith and director Michael Landon, Jr.), the Christian community has a movie that is entertaining, enthralling, absorbing, thought-provoking, and blatantly proud of Jesus Christ. What is missing (hallelujah!) is the embarrassingly preachy, syrupy self-righteousness and the “beat-them-over-the-head-and-convert-them” attitude of fanaticism that often ruins religious films.

The story is of Cadi (pronounced CAW-dee) Forbes, a young descendent of Welsh immigrants who brought their Celtic mythology with them when they settled into a remote, woodsy cove in the Appalachian Mountains. In flashbacks, the movie reveals that Cadi (very ably and delightfully played by Liana Liberato) is one day followed into the woods by her younger sister. The sister slips on a spray- and rain-slickened log bridge and plunges to her death in the raging chasm of water below.

Cadi is tortured by a deep sense of guilt and responsibility over her sister’s death that is only exacerbated by her mother, who in her own grief distances herself from Cadi. Looking for redemption for herself, Cadi discovers that the entire community has a deep and dark secret. In her search for answers, she attempts to make a connection with the Sin Eater—a profound cultural taboo.

In Celtic mythology, one man from a community was chosen by lot to become an outcast, the Sin Eater. This person agreed to live as a hermit until summoned by a bell when a community member had died. The Sin Eater would then stand over the grave and suck in or “eat” the sins of the dead person so that he or she could pass safely into eternity. The Sin Eater was not allowed to participate in life with other human beings. He wore robes with a deep hood that protected the populace from seeing him, and at the times he was called upon to perform his duty, all backs were turned to him and he was not looked upon at all. When his sin eating was done, he crept quietly and quickly back into the woods, disappearing until he should be needed again. In his vocation, the Sin Eater was like a Christ figure. This culture, knowing nothing of Jesus Christ’s sacrifice for the sins of all people, had perceived the deep need for mankind to be forgiven and redeemed for the wrong things done in life, and had built a system of redemption and salvation centered on human effort.

As Cadi becomes enthralled with the Sin Eater, she and a boy from her community become friends and unite in sleuthing out the past. By sad and horrifying means, Cadi and Fagan witness the death of a Man of God. Cadi picks up the preacher’s Bible and discovers the amazing story of Jesus Christ. She then becomes determined to bring this message to her people.

This movie is based on the best-selling novel of the same name by Francine Rivers. Screenwriter Brian Bird has produced an amazing work in translating the book to film and, from the comments I heard after the screening, has done an honorable job of remaining true to the writing of Ms. Rivers. Combine these talents with those of Michael Landon, Jr.—who very obviously has learned and is carrying out the legacy of his very famous father, and here finds the perfect locations in Utah and directs an ensemble class of actors from whom he draws out amazing talent (Louise Fletcher as Miz Elda and Peter Wingfield as the Sin Eater must be specifically applauded)—and this film becomes a powerhouse.

Shot entirely on location, Landon’s film integrates the landscape into the story in a way that is mesmerizing. While Cadi is searching for answers and clouds of trouble are roiling around her, Landon uses the rugged backdrop of the Wasatch Mountains to heighten the sense of darkness and mystery. He returns to this image several times and when resolution comes at the end of the movie, he switches to a wonderful scene of a gorgeously beautiful green and peaceful valley that the viewer immediately recognizes as a contrast to the turmoil reflected in the rugged cliffs. Filming like this can be very trite, but under Landon’s direction, the cinematography is so well choreographed and fabulously presented that it does not come across as contrived in any way. The color and clarity are astonishing as well.

This film has a message for everyone. It was obviously brought to the screen out of love for God and his incredible gift of the perfect “Sin Eater,” Jesus Christ. All the people of the Cove discover that any redemption sought through human effort will always be flawed because human beings are themselves flawed, and there is not one person who has not done or thought something wrong at least once in his or her life. Even a single sin precludes the ability to take on the sin of any other person and pay for it. What is needed is an absolutely sinless and thus perfect representative—Jesus Christ. There is nothing as deeply and completely satisfying as redemption accomplished with mercy and love rather than violence and vengeance.

The Last Sin Eater is advertised as having a limited release and a short run in theaters. Please don’t deny yourself the pleasure of seeing this movie on the big screen.

The MPAA has rated The Last Sin Eater as PG-13 for “thematic elements, and some intense sequences of violence.” Due to the subject matter and the mental requirement of remembering and making connections of events throughout the movie, most children younger than thirteen would have a difficult time keeping up and understanding what is happening. There are also some really great “startle” moments that would scare children, and the brutality of several beatings (some involving child abuse) does not need to be seen by innocents. For these reasons, I support the rating.

Courtesy of a local radio station, Kathy attended a promotional screening of The Last Sin Eater.