Marjoe Gortner was the first Evangelical preacher to blow the whistle on his profession. In his documentary film, Marjoe, made in the late sixties, he revealed age-old tricks of the trade and exposed some of the entertainment aspects of the popular movement that have made it big business.

If he lives forever, Hugh Marjoe Ross Gortner will most likely always be "The World's Youngest Ordained Minister." Born January 14, 1944, Marjoe was almost strangled during delivery by his own umbilical cord. The obstetrician told his mother that it was a miracle the child survived, and thus "Marjoe" -- for Mary and Joseph -- the Miracle Child, took his place at the end of a long line of Evangelical ministers.

From the beginning, his preaching skills were meticulously cultivated. Before he learned to say "Mamma" or "Poppa," he was taught to sing "Hallelujah!" When he was nine months old his mother taught him the right way to shout "Glory!" into the microphone. At three, he could preach the gospel from memory, and he received drama coaching and instruction in every performing art from saxophone playing to baton twirling. On Halloween, 1948, at the age of four, Marjoe was officially ordained and thrust into a wildly successful career as the Shirley Temple of America's Bible Belt, the sprawling non-geographic community of strict adherents to the Christian scriptures. In the following decade he preached to packed tents and houses coast to coast, as enthusiastic audiences flocked to see the Miracle Child who allegedly received sermons from the Lord in his sleep. Owing to his mother's careful training, harsh discipline, and indomitable ambition, Marjoe's sermons were flawlessly memorized, right down to each perfectly timed pause and gesture. Frequent Hallelujahs and Amens punctuated his performances, which were cleverly promoted with titles such as "From Wheelchair to Pulpit" and "Heading for the Last Roundup," which Marjoe preached wearing a cowboy suit.

Marjoe's captivating sermons rarely failed to fill the church collection plate to the brim, and his renowned faith healings were miraculous even to him. In his teens, however, Marjoe grew disenchanted with the continued deception of his divine powers. He left the Evangelical movement in search of more legitimate means of employment. He spent some time in a rock band, trying to move with the changing times; then he returned to the Evangelical circuit to make his revealing motion picture. Marjoe is one of those frank films that delves deeply into sensitive areas of American morality that slip over the line into profiteering.