Movies That Christians Should Watch: The Truman Show

The Truman Show (1998)
Paramount Pictures

Truman Burbank, in one of Jim Carrey’s finest performances, is a nice guy with a nice wife, the nice house, job, and neighbors — but it’s all been staged for Truman. He’s the center of a global reality show in which he’s the only one who doesn’t know. From birth, he’s been raised on an engineered island with hired actors and millions of hidden cameras. If you think I’ve given away the big secret, this is only the start of the movie. Truman’s world slowly unravels when he finds clues that reveal the seams. He knows something is wrong; we find he has probably known it his whole life. He must decide whether to discover his reality or stay content on his perfect island.

Also starring Ed Harris, Laura Linney, Noah Emmerich, and Natascha McElhone. Directed by Peter Weir.

Questionable Content:
Some suggestions of sex, an unethical premise, and a scene of a man nearly dying.

Why You Should See It (Some Spoilers Ahead):

The Truman Show is not subtle on the Christian riffs: the director of Truman’s life is named Kristoff, who is in control of the sun and moon, and at one point calls himself the Creator. But we never sense that Kristoff is God; we know he cares for Truman, but he’s otherwise perverse, greedy, and vengeful. I remember watching the movie with a friend who could not stop saying, “This is so messed up.” The first time I watched it, I had never stopped to think how very wrong that Truman’s life really was. The wrongness of it, I’ve found, is that we’re much like Truman, manipulated and exploited by unseen powers and men who play God, that demand us to dance for someone else’s objectifying delight.

The two major themes in the movie are not merely on-the-nose, but in our nostrils. Truman is 1) trapped by the manufactured lull of a conformist paradise and 2) prostituted for our salacious consumption. The themes are mostly played for laughs, running parallel until the final scene, when they culminate into a much more understated, melancholic message on freedom and vulnerability.

That first theme is much more existential: Truman is imprisoned in a self-indulgent bubble in which everything works out, in a world of so much sugar and sunshine that he feels there must be something more. In a sense, he’s at the highest tier of a caste system that oppresses his every choice, not by poverty but by pleasure. The point appears simple, that we are blinded by paradise until we’re enslaved — but the film goes one further when it shows that finding the something-more is not an easy path. It’s painful to leave the comfortable. It’s not romantic, and it’s also not a reversible option. I’m reminded of an exchange in The Matrix, when the vile Agent Smith remarks that a perfect fantasy program only destroyed the minds of the plugged-in humans because we need some element of risk and uncertainty to truly thrive. A life without adventure will wither. We inherently know that we must fight for something.

The movie makes a case that no one can have the wool pulled over their eyes for long. A woman who wants to set Truman free enters his life and tries to explain the truth. She’s expelled from the set and Truman is arranged to marry another woman. But Truman never forgets the first woman, their connection, her jacket. Truman is also born with a passionate urge to explore the world. This leads to more bittersweet scenes like his elementary teacher saying, “There’s nothing left to explore.” In a comi-tragic sight gag, Truman is at a travel agency and he sees a poster of an airplane struck by a lightning bolt. In probably the most cruel scene of the movie, Truman watches his father “drown” in the ocean. To Kristoff and the show producers, this works out perfectly since Truman develops a phobia of traveling over water. But all these mechanisms designed to control Truman only seem to inspire him further. He can’t simply “get in line with the program.” He makes pictures of the first woman, he looks for ways to travel to Fiji, and he fancies himself an astronaut of his own planet. His passion cannot be quelled by complacency.

The moment Truman begins to break is telling: he finds three neighbors — hired extras — doing regular rotations around the block, playing the part of reality, and Truman subconsciously realizes he’s been thrown into the same kind of routine. Events escalate as Truman desperately tries to convince his wife of a conspiracy, by drifting his car and making faces (in a perfectly acted scene by Carrey), as if he’s rebelling against the assembly-line neighbors by spontaneously doing donuts around the street, and shortly after he attacks a group of men who have been ordered to detain him. The tonal shift here is jarring, as Truman fights the men while he’s screaming in agony. Carrey goes from hilarious to horrifying in a heartbeat; the latter drama is made all the more chilling by the former comedy. I found myself laughing nervously, recognizing how often that others “spin” us into a false narrative by denial and ridicule (I’m reminded of The X-Files and its perfectly paranoid atmosphere, the sense that we were being kept from the truth that everything is a lie). Truman begins to understand on some gut-level that he’s being controlled by invisible forces for some sinister purpose (like Mulder, he’s right).

My favorite scene in the movie is when Truman steps into the middle of the road and thrusts out his hands to stop traffic. The musical score here is incredible. For a moment, Truman is no longer a man on strings, finally stepping outside his comfort, risking his safety for answers, and for the movie watcher, this is a multi-layered feat of a movie becoming real by knowing it’s not. Truman doesn’t gain the answers here but he realizes he can find them.

The second theme, about the whoring of Truman for TV ratings, is even more relevant today than two decades ago. The movie was released in 1998, both when “reality shows” were entering our homes and Jim Carrey was the most paid actor in Hollywood, largely because of his scenery-chewing showmanship. Carrey’s casting could not have been a mistake; his own notoriety at the time is inseparable from the ideas of the movie. There’s a sly statement here about the ugly side of fame and our secret attraction to voyeurism, both sides feeding into each other like a tireless ouroboros. There’s a symbiotic (or parasitic) relationship between celebrity status and the public’s frenzy over fame for fame’s sake.

We might have laughed at this in 1998, but with Twitter, Periscope, and live feeds of Koreans eating food and making thousands of dollars per bite, everything and anything today is on display somehow, propped up in a global window for our two-second viewing pleasure (I say this not as an alarmist shaking my fist, but as an advocate of social media, knowing it can both help and harm). With trending hashtags, YouTubers, Instagram models, and candid moments caught on phones, nearly anyone can be a household name by the power of publicity.

The cost, of course, is that we become shallow entertainers and end up degrading ourselves for the chance to go temporarily “viral.” Like the audience who watches The Truman Show, we live vicariously through the rise and fall of famous strangers, because it creates an exciting narrative for us that drowns out our dreaded inner-silence. And maybe worst of all, we end up losing the rawness of our best moments if we’re only thinking about how to use them in a video or a blog post; we superimpose ourselves into a hologram of marketed outlandishness. Every private moment has become ripe for self-promotion.

Much like Truman, many of us are hoping to get back to something human, back in touch with who we really are outside the constant showcase. Many of us are tired of living half of our lives in the public eye. As the late, great Roger Ebert wrote in his review of the film, “[We] can telecast real lives—of course we must, right? But are these good things to do? The irony is, the people who will finally answer that question will be the very ones produced by the process.”

**Spoilers of the ending in the following paragraphs**

Having seen the movie so many times, there is one turn of events that used to bother me. Truman is reunited with his resurrected father and there’s a tearful embrace. In the very next scene, Truman makes a run for it. There’s no explanation, no transition, no thought process shown. Only much later did I make the connection: Truman’s tears in the embrace are not over his dead father returning, but in discovering that his world was fake all along. Truman realizes his worst suspicions are true, that his life has been a freakshow, that it’s not real — so he chooses to break free of the system. The return of Truman’s father is too much of a giveaway that this is all fantasy. This is made more clear in the next scene, when Truman puts on a show for the mirror in his bathroom and says, “That one’s for free.” When we see Kristoff the director overseeing the reunion, he thinks he has made the perfect masterpiece scene of his show, but he has unwittingly exposed the entire reality of Truman’s world to his dear puppet. The illusion, ironically, is shattered by the most viral video of Kristoff’s career. Undone by hubris, as the Greeks say. Man tries to play God, but man smells the counterfeit.

In the pivotal scene at the end, when Pseudo-Creator and Faux-Creation confront one another, Truman slams his fist against years and years of injustice. It moved me to tears. I don’t cry at the movies because I’d rather cry about actual news, and I’m not entirely sure why I cried then. I was surprised at my reaction. Years later did I begin to understand: that we all long to be free of our earthly prisons and are always on the verge of that freedom. We are always prodded by the divine to seek the something-more beyond our shackles.

The Truman Show, in the end, is punctuated by a final theme: the refusal of opportunism. The whole movie builds up to the conversation when Truman stands against his false creator, demanding release from his prostitution, rejecting both paradise and popularity. Truman says a resounding no to agendas and exploitation. He is no longer for sale, even if it would be more comfortable. In a culture where we constantly use people for what they can do instead of celebrating them for who they are, when we “marry for the money,” there’s a kind of sacredness and innocence to Truman’s decision, who wins back his dignity at the edge of the drowning waters that once held him. Truman realizes he is True Man after all.

Truman’s final doorway is the second chance at a real life and real freedom. He leaves safety because it isn’t worth the cost of real connection, with all its flaws and floppy edges. He leaves behind a picture-perfect relationship and chases after a love for who-she-really-is, because real love is unromantic this way, staying long past the Facebook-album honeymoon. None of this will be easy, but he knows it, and he takes the risk gladly. In a life where he had little choice, he still makes the most important one: to be true to his convictions. We can make the same choice each day.


TIME Magazine Cover, Credit: Peggy Sirota, U.S. Edition — June 1, 1998 Vol. 151 No. 21

12 thoughts on “Movies That Christians Should Watch: The Truman Show

  1. Another great film – I recently rewatched this and thought I should use it for a movie night with the girls from our church youth group.


    1. That’s a great idea! I’ve shown this movie to just about anyone who will give me two hours of free time. It’s just one of those “perfect” movies — romance, humor, adventure, friendship, coming of age, sci-fi premise, and great spiritual themes.


  2. Awesome, awesome flick. One of the best ever. I’ve cried too. I just wonder what he must have felt after leaving the set. It’s a completely different world. He was free, but it couldn’t have been easy. Great review, JS.


    1. Thanks Dave. I miss doing these reviews. I was thinking of one for “The Dark Knight Rises,” which has so many gospel themes and is a pretty good movie on its own.
      I also need to watch The Truman Show again, I always get tense at the boat scene even though I know how it ends, hah.


  3. Interesting take on the movie but also strange that I had a completely different reaction. The first time I saw this movie on its original release it struck me as a satire on reality TV taken to its extreme. Last night I saw it a second time on Netflix and plainly saw a blasphemous criticism of the idea of an omniscient, all powerful, personal God and the notion of freewill under that God. Do we (or Truman) actually have freewill when God has directed our lives and has a plan for our lives since God already knows what we will do. Does God put people, circumstances, and decisions before us to lead us where he already knows we will go? Plainly Christoff is God/Creator, loves his creation (Truman) and directs his world and interactions. Truman is allowed decisions but never allowed real choices until the end when he rejects the Creator’s world and its rules. Truman, like man has no say in being born, where he lives, the people in his life, his likes or dislikes, his tastes, etc. No freewill. And Truman is like most of us as Christoff says, ” We accept the reality of the world with which we are presented.” Our family, culture, traditions, and especially religion dictate our worldview. Truman’s decision at the end was to break free of that fabricated reality. I really couldn’t see a Christian theme in this movie at all.


    1. That’s what I love about nuanced art: it’s a subjective experience with multiple interpretations. While it’s possible that the makers of The Truman Show could’ve had angry motives, I felt the film was balanced enough that it could go either way. There is obviously some art with their own agendas against the Judeo-Christian worldview, but sometimes our own conclusion exposes something about us instead of the art itself. Each time I watch The Truman Show, I am affirmed that mankind cannot be god over men, even if this was never the script’s intention.


      1. I think you are right about our reaction to art saying something about us or rather our projections onto that art. While it seems painfully apparent to me now that The Truman Show was anti-Christian Worldview I did not watch it with those themes in mind. I watched it with my wife and kids remembering how clever I thought the reality show/advertising/modern media theme was the first time I saw it. Being a Christian on first viewing the God theme may have occurred to me but it wasn’t what stuck with me. Now, as someone who has lost faith it came across loud and clear and I believe it was indeed the film’s intention. In that regard I think the film is one of the worst things a Christian should watch.


  4. Truman is Christ, Christoff is God. The writer is wondering, what if Christ was an unwitting star of God’s cosmic play, and what if God is not omniscient and Christ felt bullied and eventually opted out. At the end, Truman “dies” and is resurrected, he “walks on water” and “ascends into the heavens”. Also, the ship’s sail is 139. Read Psalm 139 and watch the movie. All of the things that that the Psalmist attributes to God happens to Truman, He knew me in my mother’s womb, knit together in the secret place, he is familiar with all my ways (they can follow him around), when I wake and when I sleep (they watch him 24/7), he knows what I am going to say before I say it (they anticipate his comments), and he hems me in before and behind (the traffic that stops Truman from leaving the island in forward and reverse). But Truman decides to flee (Psalm 139:7) and God loses control. Truman literally makes his bed in the depths (fakes sleeping in the basement of his house) and rises on the wings of the dawn (wakes up before the sunrise) and his boat quite LITERALLY settles on the far side of the sea (Boat rams the sky/wall andis held fast) and they have to cue the sun to find him because surely the darkness did hide Truman, even though they tried to make the night shine like the day (“We can’t find him in htis darkness. Cue the sun.” “But it’s 2:00 a.m.!”). The movie asks very interesting questions about the relationship between God and Christ.


    1. hollywood loves to portray the son as good and the Father as evil… Jesus said “the Father and I are one” and “I did nothing on my own, but my Father’s will”… God the father is loving merciful, a God of grace and… He reconciled us to a right relationship by pouring out the wrath we deserved on the one and only son He loves… and the son laid down his own life, freely… hollywood tries to distort this truth, and many people who call themselves christian’s believe the lie… that the God of the OT is somehow evil and different from the God of the NT, the son, who is but the perfect image of the father… God in the flesh


  5. To me, this film is a portrayal of a controlling God (Christof) who wants the best for Truman (humans). However, humans desire their own way, despite God’s guidance. The film slants Christof as controlling and somewhat maniacal in controlling behaviors. God on the other hand, is not. He offers free will, gives us clear guidance on the best path and man chooses good and wrong. Truman is a portrayal of Adam and Eve, who chose to eat the fruit in the garden, wanting to know what is good and wrong and by eating the fruit, they found out what is wrong and therefore lived with the burden of sin the rest of their lives; a path humanity will follow.
    What the film neglects to show, is the aftermath of Truman’s discovery. This is where the makers of the film create a sense of freedom, knowing good and wrong, when in actuality Truman is worse-off, as the burden of knowing sin, keep humans in slavery against the freedoms of God’s design. Adam and Eve chose sin and against God’s ultimate freedom– never knowing the freedom of not knowing sin.
    Ultimately, we are all Truman. We know God’s desires for our lives. The film puts a slant on who God is: controlling, while dismissing His desire for our lives. God’s desire is freedom from sin and His passionate desire for us is holiness for eternity which is impossible with sin. Nevertheless, God allows our choice and in that free choice, there will be wrong decisions for all humans.
    The film does not reveal the best part of God’s plan for us–His compassion and mercy for us. Despite our desire for wrong and choosing against God’s will, Jesus, God in flesh, paid it all, and bought human sin, that whatever choice we made against God, is forgiven by belief in the name of Jesus and His death offers forgiveness for our wrongs against God. By belief in the name of Jesus Christ, Savior of our sins, eternal life apart from sin, will be known by us, and Truman, forever. There is no movie or human description to capture the majesty, glory, joy and peace of eternity with a Heavenly Father that gave Himself for us.


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