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| 網路電影宣傳海報 |
「大衛-王者降臨」絕對是今年最好看的福音電影了！
不同於電影「萬王之王（主耶穌）」的「插敘（說故事）」敘事結構，「大衛-王者降臨」採取跟電影「埃及王子（摩西）」相同的「線性敘述」方式，讓電影的完整性與流暢性顯得更佳。但電影中「神存在的樣式」，本片與「埃及王子」則明顯不同。
在「埃及王子」中，神以「具體存在」的形態與先知摩西互動，摩西所行的神蹟，全都是按照神「開口（聲音）」的指示去實現。電影裡我們看不見神的具體形象，但神這個角色，是以「聲優」的形式來演出的。
而「大衛-王者降臨」裡的神，自己始終沒有開口，他的「旨意」是藉著先知撒母耳來傳達：掃羅的膏立、被廢以及大衛的膏立，都以撒母耳的「傳達」為依據----但神始終在電影裡的每一個地方「存在」。
我們的神是創世的神，「自從造天地以來，神的永能和神性是明明可知的，雖是眼不能見，但藉着所造之物就可以曉得，叫人無可推諉。」 (羅馬書 1:20 )這個真理容易理解，但一般人卻不容易「感知」。在「大衛-王者降臨」裡，我更看重的是神在另外兩個層面的存在：「內在面」與「超越面」。
就超越面而言，撒母耳傳達神的旨意，是「超越的神」的呈現；歌利亞與大衛對戰時，高傲地誇口挑戰「大衛的神」那一幕也是。當歌利亞倒下的那一刻，那不是大衛的勝利，是神藉著「弱小的孩童大衛」所成就的勝利。這位神，是超越世界之上掌管一切、決定一切的至高主宰。
就內在面而言，我覺得這應該是整部電影中最精彩動人的部分了。大衛的一生就是一部尋求神、倚靠神的故事，他牧羊時如此，膏立時如此，甚至不願親手殺害對他有敵意的掃羅王時也是如此。在電影裡，大衛兩度陷入困境的情節，最能彰顯神做為「內在生命之主」的意義：
1.掃羅追殺大衛，大衛被迫出逃，大衛一邊逃命、一邊唱著「我看不見神」的心聲。導演在大衛逃命所唱的歌曲中使用了蒙太奇的手法，讓大衛與她母親在同一個畫面中，呈現「看不見神、渴求神的保護」（大衛） 與「相信神，帶著信心逃離掃羅的追捕」（母親）兩種截然相反的心境。他們並未見到神的形象，卻都在心中留著給神的位置，信靠神的保守，彰顯了神的同在。
2.亞瑪力人攻破洗格拉，擄走跟隨大衛的族人，使大衛面臨跟隨群眾信任瓦解的危機。大衛在極度無助、走投無路之際，選擇相信神：他解除武裝，一個人追趕至亞瑪力人的所在，揚聲高唱對神的信心，但被亞瑪力人一拳擊倒並被綁住手腕吊起。此時的大衛毫無反擊之力，然而被擄的族人因著大衛的信心卻開始起身高唱「我不害怕」----一個族人起身，被擊倒；再一個起身，再被擊倒；又一個起身，又一個起身……直到所有人起身高唱「我不害怕！」情勢於是逆轉，最終大衛與族人趕跑了亞瑪力人。這時候的神並沒有高居在諸天之上，而是進入每一個人的心裡，成為每一個人充滿信心的力量泉源。
我們的神，就是這麼一位既超越又內在的神。
餘論
1.在電影裡，大衛被亞瑪力人綁縛時的形象，彷彿日後上十字架的主耶穌。他順服、懷抱信心，縱使會因此而死也毫不迴避。這多像日後那位順服、犧牲、充滿愛與能力的君王----主耶穌。雖然電影裡的這段情節是出於杜撰，但我想導演應該是刻意讓大衛與主耶穌相連結，傳遞救主彌賽亞是出於大衛的子孫：主耶穌基督。
2.在電影裡，大衛的媽媽以編織為喻，教導大衛要相信神的偉大計畫。這個「編織」的意象，應該是借用於電影「埃及王子」。摩西逃離埃及時被葉忒羅收留，葉忒羅邀請摩西加入聚會所演唱的「through the heaven eyes」，裡頭就是使用「編織」來比喻神偉大的計畫。
***
<Seeking Our God — Reflections After Watching David: The King’s Arrival>
David: The King’s Arrival is without question the finest gospel film of this year.
Unlike The King of Kings (Jesus Christ), which employs an interwoven, story-within-a-story narrative structure, David: The King’s Arrival adopts a linear mode of storytelling similar to The Prince of Egypt (Moses). This choice enhances the film’s overall coherence and narrative flow. However, in its portrayal of “the manner of God’s presence,” this film differs markedly from The Prince of Egypt.
In The Prince of Egypt, God interacts with the prophet Moses in a “concrete” form of presence. The miracles Moses performs are all carried out according to God’s spoken instructions. Although God’s physical form is never shown on screen, God nevertheless appears as a character through voice acting.
By contrast, in David: The King’s Arrival, God never speaks directly. His “will” is conveyed through the prophet Samuel: the anointing of Saul, his rejection, and the anointing of David are all based on Samuel’s mediation. Yet throughout the film, God is present everywhere. Our God is the Creator God. “For since the creation of the world God’s invisible qualities—his eternal power and divine nature—have been clearly seen, being understood from what has been made, so that people are without excuse” (Romans 1:20). This truth is easy to understand intellectually, yet difficult for most people to truly “perceive.” In David: The King’s Arrival, what I value most is God’s presence on two additional levels: the immanent dimension and the transcendent dimension.
From the transcendent perspective, Samuel’s proclamation of God’s will is a manifestation of the “transcendent God.” The same is true of the scene in which Goliath arrogantly boasts and challenges “David’s God.” When Goliath falls, it is not David’s victory; it is God’s victory, accomplished through the “small and weak child David.” This God stands above the world, sovereign over all things, determining all outcomes as the supreme ruler.
From the immanent perspective, this is, in my view, the most compelling and moving part of the entire film. David’s life is a story of seeking God and relying on God—whether while shepherding sheep, being anointed, or even when he refuses to kill King Saul, who harbors hostility toward him. Two moments in the film, in which David falls into dire circumstances, most vividly reveal the meaning of God as the “Lord of inner life”:
David Fleeing from Saul As Saul hunts him down, David is forced to flee. While escaping, he sings of his inner cry: “I cannot see God.” In this sequence, the director employs montage, placing David and his mother within the same frame. This juxtaposes two starkly different states of mind: David’s sense of not seeing God and his longing for God’s protection, and his mother’s trust in God as she flees Saul’s pursuit with faith. Neither sees God’s visible form, yet both leave space for God in their hearts, trusting in His protection and manifesting God’s presence.
The Amalekites’ Attack on Ziklag When the Amalekites overrun Ziklag and carry off the people who followed David, David faces a crisis in which the trust of his followers is on the verge of collapse. In utter helplessness, with no way forward, David chooses to trust God. He lays down his weapons and pursues the Amalekites alone, singing loudly of his faith in God. He is struck down by an Amalekite, bound at the wrists, and hung up. At this moment, David has no power to resist. Yet because of David’s faith, the captured people begin to rise and sing, “I am not afraid.” One person stands up and is struck down; another rises and is struck down; then another, and another—until everyone stands and sings, “I am not afraid!” The situation reverses, and David and his people ultimately drive away the Amalekites. Here, God is no longer portrayed as enthroned high above the heavens, but as entering into every heart, becoming the wellspring of faith and strength within each person.
Our God is precisely such a God—both transcendent and immanent.
Additional Reflections In the film, the image of David bound by the Amalekites strongly resembles the Lord Jesus on the cross. David is obedient and filled with faith, not shrinking back even if obedience leads to death. How similar this is to the later obedient, self-sacrificing, loving, and powerful King—Jesus Christ. Although this scene is a fictional addition, I believe the director intentionally connects David with Jesus, conveying that the Savior, the Messiah, comes from the lineage of David: Jesus Christ.
In the film, David’s mother teaches him to trust in God’s great plan by using weaving as a metaphor. This imagery of “weaving” appears to be borrowed from The Prince of Egypt. When Moses flees Egypt and is taken in by Jethro, Jethro invites Moses to join the gathering in singing “Through Heaven’s Eyes,” a song that likewise uses weaving as a metaphor for God’s magnificent plan.
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