Lives of the Popes on Apple Podcasts: https://podcasts.apple.com/us/podcast/lives-of-the-popes/id1885968422

Lives of the Popes on CatholicCulture.org: https://www.catholicculture.org/commentary/category/lives-of-popes-podcast/

Into Great Silence is one of the great documentaries from an artistic point of view, and surely the best ever made on a Catholic subject. Filmmaker Philip Gröning contacted the Grande Chartreuse monastery in the French Alps in 1984, asking if he could come and film the Carthusian monks in their way of life. They responded saying that it was not yet the right time. Sixteen years later, they got back to him saying they were ready to receive him, a single cameraman with no fancy lighting or sound equipment.

Gröning spent six months filming the monastery, sharing the monks' silent way of life. The film that resulted is as different from other documentaries as the Carthusian rule is from life in the world: the intent was for the film itself to become a monastery. No music, no voiceover, just (mostly) silently and slowly observing the monks' way of life, as the seductive beauty of life with God is gradually revealed underneath the austere self-denial.

Going My Way (1944) and The Bells of St. Mary's (1945) bring us back to a very different period in American culture, where the immensely popular singer Bing Crosby could make a movie playing a priest of essentially spotless character, and that movie could win six Oscars and be popular enough to get a sequel with the same character.

But is that enough to make a great Catholic film, or to make midcentury Hollywood a model of what edifying cinema should be?

These films, both directed by the great Leo McCarey, are entertaining to be sure, and heartwarming in their way. But as a portrayal of the Catholic Church and the priesthood, they are pretty shallow – holding up as ideal a young, hip priest because he sings, plays ball with the kids, and is kind and charismatic, without anything particularly spiritual about his actions or motives. A New Yorker review at the time said these films portrayed the Church "as a kind of settlement house where good works and jollity provide a lively substitute for religion".

While we can enjoy these films for what they were, when we talk about a Catholic movie today, we are looking for something with more existential heft, spiritual and artistic depth, rather than something which pleases us simply because it portrays the Church in a positive and sentimental light (but in a way that is in no way challenging to the culture). In retrospect, these films remind us of the dangers of a too-Americanized religion, and indicate that the Catholic influence on midcentury Hollywood, celebrated with much nostalgia by some today, was fairly shallow to begin with.

Links

Watch The Bells of St. Mary's https://www.youtube.com/watch?v=mPkBwJiN4-M

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Music is The Duskwhales, "Take It Back", used with permission. https://theduskwhales.bandcamp.com

In the 1996 British comedy-drama Secrets & Lies, Hortense, a young middle-class black woman in London, having lost both of her adoptive parents, decides to seek out her biological mother - who turns out to be a working-class white woman named Cynthia.

Director Mike Leigh is known for collaborating in depth with his actors to create vivid, deeply realized characters and performances. Secrets & Lies is an outstanding specimen of a lost genre: a kitchen-sink drama that relies entirely on its rich humanity to keep us watching. Andrew Petiprin joins Criteria to discuss the movie.

Links

Spe Salvi Institute https://www.spesalviinstitute.com/

Article about the displacement of Cockneys, "Indigenous London" https://firstthings.com/indigenous-london/

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Music is The Duskwhales, "Take It Back", used with permission. https://theduskwhales.bandcamp.com

James, Thomas, and Nathan Douglas conclude their journey through Terrence Malick's filmography (thus far) with a discussion of the film that introduced him to many Catholics: A Hidden Life, about the Austrian martyr Blessed Franz Jägerstätter, who was killed for refusing to swear loyalty to Hitler. Coming after Malick's avant-garde phase of the Weightless Trilogy, A Hidden Life is a more conventional narrative but retains much of the stylistic and formal development of his past few films.

Links

Original episode on A Hidden Life https://www.catholicculture.org/commentary/episode-58-hidden-life-film-review-w-james-majewski/

New Polity podcast on Bl. Franz https://www.youtube.com/watch?v=nD04XvxBLkE

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Music is The Duskwhales, "Take It Back", used with permission. https://theduskwhales.bandcamp.com

Anthony D'Ambrosio directed, wrote, and produced the outstanding new film Triumph of the Heart about St. Maximilian Kolbe. In this inspiring interview, he discusses the difficult path he and his team charted to produce this independent film with a low budget, high artistic standards, and deep Catholic spirituality.

Film is an expensive medium. Since a high budget requires one to calculate mainstream appeal in order to make one's money back, a low budget can leave more room for artistic and spiritual integrity. Though the production faced many hardships, it was buoyed up by the hope that the project could break a new path for other Catholic filmmakers to follow.

Triumph of the Heart is available to screen at your parish, and will start streaming on its official website November 1.

Links

Show Triumph of the Heart at your parish https://www.triumphoftheheart.com/

Our review of Triumph of the Heart https://www.catholicculture.org/commentary/triumph-heart-is-film-worthy-its-subject-st-maximilian-kolbe/

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Music is The Duskwhales, "Take It Back", used with permission. https://theduskwhales.bandcamp.com

Roberto Rossellini's 1946 World War II film Paisan has a unique structure: six vignettes following the American troops north from their landing in Sicily through Naples, Rome, Florence, Romagna, and the Po Delta. However, the film takes the perspective of the Italians, with the Americans more often than not naive outsiders. It is a fascinating exploration of the clash of cultures in the tragic scenarios of war and foreign occupation. One segment in particular will be very interesting to Catholics: an American priest serving as an army chaplain visits a Franciscan monastery along with his Protestant and Jewish chaplain counterparts and encounters a more intense and less ecumenical religiosity than he is accustomed to.

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Music is The Duskwhales, "Take It Back", used with permission. https://theduskwhales.bandcamp.com

James and Thomas discuss the original creepy clown movie, He Who Gets Slapped, starring Lon Chaney in an amazing performance as scientist Paul Beaumont, who suffers a mental breakdown after his research and his wife are stolen by a wealthy baron. Leaving his former world behind, Beaumont becomes a circus clown known only as He, whose entire act consists of attempting to say profound things while being slapped and ridiculed by the other clowns, recreating his trauma - until one day, he comes back into contact with the man who betrayed him... The film explores the effect that the crowd's propensity for mockery and humiliation has on the human psyche.

The film is by the pioneering Swedish silent-era director, Victor Sjöström - his second movie made in the US. It remains very engaging for a silent film, and makes a good introduction to the medium.

Watch He Who Gets Slapped for free on YouTube: https://www.youtube.com/watch?v=H_qlCtPdqto

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Music is The Duskwhales, "Take It Back", used with permission. https://theduskwhales.bandcamp.com