Six Days in August, An "AI" Movie Review

Six Days in August, the latest LDS-produced film, ventures into the highly charged aftermath of Joseph Smith's assassination with a level of revisionism that may leave critical viewers, particularly ex-Mormons, shaking their heads in disbelief. While the film attempts to capture the emotional upheaval following Smith's death and the rise of Brigham Young, it’s unmistakably designed to fortify a narrow, faith-promoting version of events that whitewashes history. From an ex-Mormon perspective, this movie is less a historical drama and more an exercise in mythmaking, elevating Joseph Smith to an almost divine status, completely ignoring the complexities and darker elements of his character and leadership.

The portrayal of Joseph Smith in Six Days in August is perhaps the most egregious aspect of the film. He’s depicted as a flawless, Christ-like figure, whose martyrdom is treated as a sanctified event orchestrated by God. The film brushes aside the very real controversies that surrounded him—his practice of polygamy, including marriages to teenagers and other men's wives, his role in the destruction of the Nauvoo Expositor (an act that directly triggered his arrest), and the widespread unrest he caused among both his followers and non-Mormon neighbors. Instead, the filmmakers opt for a sanitized, heroic version of Smith’s last days, portraying him as a victim of persecution without any exploration of his personal responsibility in creating the tensions that led to his murder.

This portrayal of Smith as an almost divine figure is not just misleading; it’s historically dishonest. The real Joseph Smith was a man who wielded immense power, often with little regard for democratic or legal principles. His theocratic ambitions, claims of divine authority, and secretive polygamy created rifts within the church and fueled opposition outside of it. The film’s refusal to engage with these well-documented aspects of Smith’s life does a disservice to viewers seeking an honest portrayal of early Mormon history. Rather than depicting Smith as a complex, flawed human being—a prophet to some, but deeply divisive to others—the film presents a shallow, one-dimensional figure of sainthood.

Brigham Young’s ascension to leadership is similarly whitewashed. The film frames Young as the inevitable, divinely appointed successor, while conveniently omitting the power struggles, including Sidney Rigdon’s legitimate claim to the leadership and Emma Smith’s opposition to Young’s leadership. The film also glosses over the political savvy and ruthlessness Young employed to secure control over the church, treating his rise to power as though it were as inevitable and peaceful as Moses parting the Red Sea. In reality, the succession crisis was messy, full of backdoor politics, power plays, and schisms, a reality that the movie sidesteps entirely.

For those familiar with Mormon history, the most jarring omission is any real exploration of Smith's polygamy or the widespread disillusionment it caused among his followers. Polygamy, one of the defining and most controversial elements of Smith’s leadership, is conveniently absent from the film, a glaring oversight that feels intentional. The practice was not only a source of internal conflict but a key reason why Smith was such a polarizing figure. By ignoring this, Six Days in August creates a distorted, incomplete picture of who Joseph Smith really was, perpetuating the false narrative that his only enemies were those outside the church who couldn't "see the truth."

Additionally, the film’s visuals and tone work overtime to elevate Smith into a quasi-divine figure. Soft lighting, angelic music, and scenes of mournful followers give the impression of a man who was almost faultless, someone whose persecution came solely from evil outside forces. The reality is far more complicated. Smith’s role in provoking violence, creating theocratic control in Nauvoo, and declaring himself a presidential candidate for the United States are all conveniently brushed aside. The movie’s failure to depict Smith as the deeply controversial figure he was, and the manner in which it venerates him without any nuance, is a blatant rewriting of history.

Even Brigham Young’s leadership, depicted as seamless and destined, is sanitized. There is no mention of the brutal enforcement of his will in Utah, the establishment of polygamy as a central doctrine under his rule, or the authoritarian control he exerted over the early church. Instead, Young is shown as a calm, wise leader stepping into Smith’s shoes with the grace of a spiritual giant, again reinforcing the idea that all church leadership was divinely sanctioned rather than acknowledging the real political intrigue and power struggles that occurred.

From an ex-Mormon perspective, Six Days in August is more than just a poor representation of history; it’s a deliberate piece of propaganda. The film’s core purpose seems to be reinforcing a faith-promoting narrative where Joseph Smith is saintly, Brigham Young is the inevitable and rightful heir, and the early Mormon church’s messy, controversial aspects are swept under the rug. It’s a film that doesn’t ask hard questions, doesn’t offer real historical depth, and instead relies on tired, overly simplistic depictions of good versus evil, with Smith and his followers on the side of divine righteousness.

In conclusion, Six Days in August feels like a missed opportunity. The assassination of Joseph Smith and the succession crisis that followed is one of the most complex, turbulent times in early American religious history. Rather than exploring the real dynamics of power, leadership, and conflict, the film settles for a whitewashed, glossy depiction designed to bolster the faith of believing Mormons, leaving ex-Mormons and those seeking a more truthful representation of history deeply unsatisfied. Instead of being challenged with a nuanced portrayal of a deeply flawed but fascinating man, viewers are handed a sanitized, deified version of Joseph Smith that bears little resemblance to the reality of his life and legacy.