Filmed in black and white, with occasional concert footage in color, TRUTH OR DARE is a sin-filled peek at Madonna's life that alienates its viewers from God. Also, the content is so jarring that even the secular media has had to pan TRUTH OR DARE.
Peeking in at Madonna’s life with her band on tour, TRUTH OR DARE is voyeuristic, sacrilegious travesty. Filmed in black and white, with occasional concert footage in color, TRUTH OR DARE explores Madonna’s medium, message and her relationships with significant others.
If one could overlook her blatant sexual gestures, Madonna’s concerts might be seen as a good show with frivolous music, intriguing choreography, costumes, and mystic lighting. Actually, however, her hedonistic message (i.e., “If it feels good, do it”) and burlesque song and dance exploit women as mere sexual objects.
On stage, Madonna prances around in her underwear outfits, pulsing her body to the rhythmic beat as she belches out her mindless tunes. One song, “Like a Virgin” features male dancers wearing huge yellow cone-shaped brasseries, fondling themselves. Other acts portray religious experiences, such as “Say a Prayer,” in which a tearful Madonna prayerfully kneels at a velvet-covered confession altar as a priestly black dancer sways about her.
The title of this film refers to a game Madonna plays with band members. They must answer a question truthfully or dare to expose their genitals, homosexual french-kiss, or simulate oral sex with a Perrier bottle.
Before her concerts, Madonna prays with band members: “God, help us kick some a– tonight.” In another scene, Madonna prays, “They say, `Ask and you shall receive’ so I’m asking you to give me a voice to sing to you. Help me to show everyone that I made something of my life.” Perhaps this is Madonna’s problem. She has made herself an idol, exalting herself above God (Romans 1:25).
Madonna not only glorifies eroticism but homosexuality, which is condemned in Scripture (1 Corinthians 6:9). Approximately ten minutes of DARE is devoted to coverage of “Queer Nation” activists.
Behind the scenes, we also meet Marla, a childhood friend who taught Madonna “how to insert tampons.” Marla, a former topless dancer and mother of four boys, asks Madonna to bless her unborn child and possibly be it’s Godmother. Says Marla, “I remember praying to Madonna (as a child), because she was the closest thing to God.”
As the movie ends, we see Madonna alone in bed with each of her male dancers. Amidst the sexual talk and perversion, she tells one guy to “build an altar to me someday.”
Madonna describes her concert as a “theatrical, emotional journey” which attempts to portray “redemption and salvation.” Truthfully, this film is a sin-filled journey that alienates its viewers from God. (Proverbs 14:12).
Overall, the content is so jarring that even the secular media has had to pan TRUTH OR DARE despite their desire to promote Madonna’s hedonistic philosophy. As Roger E. Goulet points out in his Sunday May 12, 1991 Letter to the Editor of the L.A. Times:
“There is a widely held perception that Madonna and other entertainers like her are going where no artists have gone before. Far from it. In fact, they are slowly and timidly crawling along the same sleazy trail that was blazed by the porno industry many years ago. *** Any run-of-the-mill porno video easily exceeds their feeble and ersatz attempts to shock. *** If she thinks that showing her breasts is “a more powerful statement,” she obviously has not read the Gettysburg Address. Hey, being an enfant terrible is a dirty job…, but rationalizing the use of obscenity as a vehicle for social protest gives hypocrisy a bad name.”
(LLL, SS, PN, AC) Many obscenities and profanity, crass and lewd language, promiscuity and sexual immorality, partial nudity, sexual innuendo, masturbation, graphic homosexual activities, homosexual kissing, misuse of God's name, and simulated oral sex with Perrier bottle.