Die linke Hand Gottes

You won't get the urge to hail with hallelujahs, but you'll walk away shrugging, and mumbling what the, especially when Yang's encountered, but the film was always downward, poor Lee J. Cobb is quite the opposite of stupendous. You may also have concerns about the mule, although there's several that compete to trick and fool, with a story that's so thin, Bogey's a fogey and quite thin, deserving better than this festering pustule. At least it's short which means you don't have to endure, a bit less than 90 minutes of Yak manure, but you'll not forget poor Lee, an Asian minstrel - could he see? A film with very low appeal, without allure.

Great movie stars are rarely great actors. But they are people who exude elements of humanity, which we'd like to possess- John Wayne's toughness, Sharon Stone's glamour, Gary Cooper's inner silence, or Michael Douglas's ruthlessness. More unique than acting talent, Humphrey Bogart's element was that of hardened sinner whose inner spark of decency wasn't entirely subsumed. In this Cinemascope/colour movie, where Bogie's late-night drinking and myriad of broken marital relationships was visibly etched upon every facial crevice, the idea that he could pass himself off as a priest was ludicrous. But THE LEFT HAND OF GOD never demands that of him- nor us.

It makes instead, the not impossible proposition that a simple, remote Chinese community traumatised by marauders might presume Bogie to be the 'priest of Christ' they so anxiously await. We the audience, are privy to who Bogey is and still is. His un-Godly skill, which ultimately saves the mission from General Yang's terror, is entirely in character.

The Catholic theology was also dead on. Those whom Bogie absolved, married and buried were spiritually exonerated by the very innocence we moviegoers cannot share about Bogart. The power of the central argument of William Barrett's much dissipated novel, in spite of -or maybe because of, 50's Hollywood formulaic moviemaking- is somehow preserved.

The repetitious references to Bogey as 'the priest of Christ' and the ingenuous children's enigmatic broken-English farewell of 'Oole Kantackee Hom,' also persuade. We know Bogey must leave, and that he is redeemed in spite of himself. Even Bogie doesn't know that. We now also know that this life-scarred, bloodshot, poker-playing sceptic received a fair Hearing- after dying from throat cancer less than two years later on January 14th 1957 -at least from the left Hand Side of his Maker.

Humphrey Bogart experiences "The Left Hand of God" in this 1955 film also starring Gene Tierney, Lee J. Cobb, Agnes Moorhead and Lee J. Cobb. Bogart is Father O'Shea, who arrives at a mission in China to take over religious duties. The casting of Bogart should tell you something right away. While there, he wins the hearts of the people and that of a beautiful nurse (Tierney) who is a widow and, being a strong Catholic, finds her emotions unsettling. Father O has a relationship with a Chinese warlord, and now the village seems in danger. Can he save it? There's not a tremendous amount of action in this film, but the wonderful cast keeps us interested. Always a surprising actor, Bogart has a way with touching moments, such as receiving a blessing from the oldest man in the village. In 1955, Gene Tierney was still a young and beautiful woman, but for some reason, around 1950, she adopted a short, matronly haircut that I for one never found flattering. She's lovely in this as a lonely widow. Moorhead and Marshall give strong performances as the doctor and his wife. Lee J. Cobb is good, but seen today, his Chinese makeup is distracting.

Mildly interesting.

Father O'Shea, arrives at a Catholic mission in 1947 China, though his methods at first seem heavy handed, the villagers come to admire and respect him. But the longer he stays there the closer he gets to Anne, a pretty nurse who herself is strangely drawn to this unorthodox priest, it is just a matter of time before the truth will out and secrets are about to become uncovered.

Based on the novel by William E. Barrett, The Left Hand Of God just about registers as an interesting piece. I would go as far to say that it's merely the presence of some big name actors that have stopped this one from being panned wholesale. The acting is fine, Humphrey Bogart takes the lead as Father O'Shea, restrained and committed to the role he is, but it's not really a role calling for anything out of the ordinary. Gene Tierney plays Anne and barely has enough written for her to flourish, and this accounts for a distinct lack of chemistry between herself and Bogart. Gruff nasty villain duties fall to Lee J. Cobb, who in his oriental makeup now looks incredibly dated and sadly, laughable. The story will be of interest to those of religious beliefs, and at its heart the redemption fable is to be roundly applauded, but the whole movie drags to its inevitable conclusion and come the warm finale i personally felt that it's such a waste of talent. Yes it's touching at times, and yes its point is well and truly made, but ultimately it's a very forgettable piece of interest to Bogart and religious purists only. 5/10

Interesting that The Left Hand of God should be directed by Edward Dmytryk one of the famed Hollywood 10 and the only one to recant and admit his Communist Party involvement so he could beat the blacklist and resume work. Dmytryk like Bogart in the film pretended he was something he wasn't and submitted himself for a kind of absolution.

Flier James Carmody is shot down while flying the hump in Kuomintang China during the Thirties and he's shot down in an isolated area where Chiang Kai-shek's writ doesn't run. He gets drafted into warlord Lee J. Cobb's army and then deserts, using the disguise of a recently deceased priest who got himself deceased by one of Cobb's men.

Like William Holden in Bridge Over the River Kwai, Carmody played by Bogart is forced by circumstance to keep up the appearance. He wins over a lot of the villagers where the deceased priest was headed for. And he also wins over missionary lady Gene Tierney. And he becomes involved in a rather dubious miracle that saves the village.

The key here is that Bogart is a lapsed Catholic himself in the film. Otherwise the whole thing would have no meaning whatsoever. Even so, I'm still dubious myself about Bogart's attitude when all's said and done.

Plot elements can be found as I said in The Bridge on the River Kwai and later on it was played for comedy in a military setting when Glenn Ford pretended he was a general in Imitation General in an obscure corner of the European theater in World War II.

Bogey fans will consider this film a must, others can take or leave it.