By Julie D. Griffin
John Denver who doubles as a makeshift prophet of God, nee no credentials, and a grocery store manager, just too much for his small town, he eventually finds himself homeless and as he states at the same time unrelocatable ~ The first Oh God film which leads onto the platform of Oh God II. about a child, a young girl who talks to God, and although the second film which has a lot of bland scenario regarding same, still George Burns shines as God and while no one really knows what God per se actually looks like physically, even an atheist believes of the possibility of God or a god. Otherwise, what argument would such a person make against a greater being for the reason of the existence of one against. In Oh God II., Wifred Hyde White and Anthony Holland also join an elder God of a George Burns, while her father takes her to a real theater and a Chinese diner for a change. God speaks through fortune cookie messages, television and even while driving a motorcycle. The little girl comes up with an idea to campaign God, and even the father grows uneased. "I'm not a tube of toothpaste," replies God. And the advertising executive father wants no part of marketing the holy one of Israel. George Burns as God attests that he is no advertising campaign. Despite the little brown eyed girl who wants to push God around and make a great big want me list of the man, her father tells her that he for certain at least knows ~ "I don't think I'd handle that act ~ I could get into a lot of trouble with that." An honest critique of God II. while the film tries to use a slant at material cuteness, while the acting of Mr. Burns rates high, the other points of the film seem rather carnal and base. At least with God II. though, George Burns as God does get invited to speak on the Johnnie Carson Show, and while the themes of a lot of existential Yin and Yang get thrown around as the philosophy of God again, unlike with the former construction of the film series, the idea of an originally spoiled little rich girl who talks to God does not exactly vie or line up well with the mother Mary ideal of a poor Jewish girl who finds herself pregnant with a pre-eminent savior, and later gives birth under a mediterranean country moon sky on a pile of hay with donkey, sheep and other animals standing around watching.
Oh God, You Devil which rends the third film of the George Burns, God trilogy of the theme portrays Mr. Burns as both God and the devil. A rock star, who makes a bargain with the devil for his soul for a lot of fame and money finds himself torn between two devils ~ God and the devil. An infamous and classic theme of opera and fiction from ages begone, the poor star of the film hardly knows which George Burns to cleave onto. Confused, he fluctuates between the identified good and evil outlined and defined by the director of the film, and just as the other original Carl Reiner Oh God production, said, Burns informed Denver who died before a second production of same, that he was not really looking for anyone significant and that really ordinary would do. Again the theme of the last film capitulates the theme of the present film to present a more carnal and religious Yin or Yang retreat. Of course, with traditional belief, one does not exist without the other. Representational motif therefore of the more dramatic criticism of the film, make one veer and more precise, run from any postcolonial identification for all three of the films. But rather, to attribute the duo gods of Satan and God to any form of reconstruction seems a soliloquy of error. And while no great psychoanalytic film theory would do here, it would be some appropriate. And not likely questionable regarding eco-feminism since a female actress, albeit a child exhibited the second film of the trilogy, and yet a more endemic mythologies structure while not exactly clearly outlined here ~ Does have a moment of tryst and shine not likely to be too unclearly undefined.