Leap of Faith 1992

faith healer Jonas Nightengale, Steve Martin and his manager Jane Larson, Debra Winger, roll into Rustwater, a small, rural town in the grip of a brutal drought. With replacement parts for their truck four days out, Jonas sees a practical need to fill the time and decides to stage revival meetings to raise money for repairs. The pair rolls into town under the banner of faith, but their methods quickly reveal a more calculated side: Jonas and his staff play a role, weaving faux divine insight into a show that’s part sermon, part spectacle. The atmosphere of Rustwater shifts as the show unfolds, and the townspeople—hungry for relief and inspired by the performances—open their wallets with growing eagerness.

Sheriff Will Braverman, Liam Neeson, watches with growing skepticism. He digs into Jonas’s past and uncovers a startling truth: Jonas is really Jack Newton, a New York City native who once lived on the wrong side of the law. Braverman brings his findings to the crowd gathered for another tent revival, and Jonas, facing exposure, storms off the stage only to circle back with a deft pivot that turns the blow into a rallying cry. He reframes the revelation in a way that energizes the audience, reinforcing the illusion of his power even as Braverman’s doubt lingers. The dynamic between Jonas and Jane deepens, as both their professional ruse and personal feelings collide, drawing them into a complicated attraction that complicates Jonas’s grand plan.

Into this fragile moral landscape enters Marva, Lolita Davidovich, a diner waitress whose brother Boyd, Lukas Haas, is crippled by a condition doctors cannot explain. Boyd’s body seems to betray him, yet he clings to a stubborn faith that Jonas can help him walk again. During a tense meeting, Boyd faces the crucifix, touches the feet of Jesus, and in a moment of visible release drops his crutches and takes a hesitant step—then another—before standing wholly unassisted. The crowd erupts in awe, and the moment of apparent miracle sits uneasily with Jonas, who sees in it the potential for real power, even as he worries about the line between deception and genuine faith. After the show, Jonas lashes out at Jane, insisting the whole enterprise is a con, even as he begins to glimpse a possibility that the miracle might be real after all.

As the days progress, relationships intensify. Jonas’s volatile tension with Braverman spills over into conversations that test the boundaries of belief and truth, while his growing connection with Jane tethers him to a sense of responsibility he has not allowed himself to feel before. On the other hand, Marva’s gratitude toward Jonas is tempered by a quiet concern for Boyd; she sees the boy’s revival as both a potential breakthrough and a dangerous lure. When Boyd asks to join Jonas on the road, the healer agrees to meet him at dawn, signaling a next step that could redefine Jonas’s mission. Marva delivers Boyd a message she hopes will carry him through: just because someone does not show up does not mean they do not care.

That night, Jonas departs the tent and surveys a community transformed by prayer, sleep, and service—people huddled in groups, clinging to hope, sharing what little they have with those in need. The realization dawns on him that Boyd’s faith—anchored in a sincerity that transcends stagecraft—may be the real force behind the movement. He packs a bag, leaves the show behind, and hitches a ride with a truck driver toward Pensacola, Florida. When asked if he is in trouble, Jonas answers with unexpected clarity: for the first time in his life, he is not.

And then the drought breaks. A dramatic downpour sweeps Rustwater, drenching the fields and washing away the season’s fear. Jonas laughs, surprised by the authenticity of what has happened, and rides the rainstorm into the night, hanging out of the back of the truck and thanking Jesus for the rain. The storm marks a turning point not only for the town but for Jonas himself, who discovers that faith, whether manufactured or earned, can carry real consequences and real relief.

In the end, the story lingers on questions rather than answers. It scrutinizes the line between performance and miracle, between cynicism and belief, and between the search for meaning and the hunger for relief. The town of Rustwater is left to decide what they truly witnessed: a man who learned to live with the consequences of his craft, a community that rediscovered hope in the wake of drought, and a faith that, in its most powerful moments, may be less about spectacle and more about genuine care for one another.