Reviews

A surprise! A film which shows that in a postmodern age, faith can exist in a very traditional way. Young Cross acts impressively well in a story which is, admittedly, occasionally implausible, but which shows that those who have faith (in God, let's not be coy about it) are not deluded or hopeless Romantics. Yes, there is a "happily-ever-after" ending, but the Greatest of all Romances has such an ending...and isn't that what faith is all about? For the "sophisticated" postmodern viewer, the film is probably so over the top that it will become boring before the second half-hour. Watch it, then, for impressive acting from Cross and a wonderful choral score by Edmund Choi. The scene of singing to get God's attention is what true worship is all about.

Unfamiliar with the play, I judged the film on its own merits. "Unknown" (to me) actors (except for Streep and Gambon) made the characters come alive more easily and the acting was indeed fine. I cared for these people. Ireland of 1938 was well-recreated and the sense of place was finely wrought. But where did it all "take" the viewer? I was left a bit frustrated by a lack of "point"...is it better to have loved and lost, etc.? is it "my life as a lad with a mom and 4 aunts"? Anyway, I still enjoyed and admired Pat O'Connor's work (he's done quite a few fine films, including A Month in the Country with Branagh.) This is a CHARACTER film, definitely; little plot, but engaging persons.

If there were no Pat Conroy novel to compare this film to, the movie might fare better. Gone is the "love interest" (major) and added is a much more upbeat ending. Conroy's novels tend toward cynicism and this one is no different. Keith and Prosky do a good job of creating two of the main characters. There is some suspense toward the end, but too much is communicated too fast to be believable. Location shots are impressive (England!) and the pacing is right. The music (Howard Blake) is weak. One would like to have seen this film directed by Sam Peckinpah or Martin Scorsese.

The story is cliched, the singing is interminable, the acting is weak. About the only time the film comes alive is in the buggy-chase toward the end, a nicely photographed sequence with some impressive stuntwork. A young Bette Davis is the love-interest. Based on a popular radio serial, the story of a Maine preacher who manages to keep his foster son places very little emphasis on the "preaching", more on the common sense humanity of "little people". As such, it has its worth; as a depiction of a cleric, the humanity, not the faith, is what shines through. Occasionally unintentionally hilarious.