If you went to The Song knowing nothing but the title and the fact that it’s loosely based on the life of King Solomon, then you might think that this film, about a country-music star and his struggles with fidelity, is based on the Song of Songs, also known as the Song of Solomon. And there is, indeed, a bit of that in there. But of all the texts ascribed to Solomon, the one that dominates this film, by far, is Ecclesiastes, easily the most existentialist book in the entire Bible. And that makes this film a little different from your typical “faith-based” movie.
Prison films are a tricky genre. The prisons themselves become metaphors for the shackles of authority, society, or psychological inhibitions that prevent people from being completely free human beings. We empathize with the prisoners, and never the warden (unless, as in Brubaker, he fights for the prisoners’ rights), because they are supposed to represent that nebulous quality known as “the human spirit”.