Das dritte Wunder

The Third Miracle is the best religious film I have ever seen. It was moving and beautifully filmed. It raised issues about faith and doubt and I was enthralled by the journey the doubting priest (brilliantly played by Ed Harris) made towards the restoration of his faith.

"Dogma" showed that throwing darts at the Roman Catholic Church isn't hard to do. Similarly, "Stigmata" created villains within the Church hierarchy with relative ease. The hard part is making some sense of what motivates priests and nuns to carry on in spite of this undeserved negativism. That's what makes "The Third Miracle" a joy to watch - a film that goes beyond stereotypes and biases to try to find answers. There is something in this film that believers and non-believers can take away from even though "The Third Miracle" has decidedly taken a strong stand about matters of faith. The linking of a wayward postulator, Father Frank, searching to legitimize a common woman for sainthood, with his own personal search for God is very effective. Equally so is how the film shows the powerful role of secularism in the lives of men we call 'holy' (can it be any more obvious than the Bishop's mud bath?). A stroke of trickery at the end doesn't spoil the way this film invites us to consider faith as truly an all-or-nothing proposition. Certainly for Father Frank, the invitation to faith and to his own priesthood was based on a shaky bargain with God to spare the life of his father. For Roxane, the daughter of Helen O'Reagan, the decision to exclude God was equally as capricious - that God would take her mother away from her just because she had to do God's work. For Archbishop Werner, the God he defends and the God he internalizes are two different beings - one who is all knowing and all powerful, the other who cannot see beyond things black and white. "The Third Miracle", then, is not just about canonizing a dead woman, a holy housewife, but about how these three living players interact and struggle with each other to arrive at their own faith. This interaction is played out so well due to brilliant performances by Anne Heche, Ed Harris, and Armin Mueller-Stahl. Miracles strengthen one's faith but the visible miracles are more likely to move those who need a sign to believe. The irony of Father Frank is that he was instructed to disprove the very extraordinary acts of faith which he desperately needed to save his own spiritual life. It took him two hours, the length of this film, to find his miracle. "The Third Miracle" leaves us with a similar challenge, how long will it take for us to find that same miracle, that same faith.

Ed Harris plays the coolest priest this side of Toronoto. Most films fail to capture the time period the story takes place at. Here, the production value is terrific. The 1940's and the 1970's is done so well that is look like archival footage. Ed Harris is beyond great. Not only does he portray a priest, but one that is tormented with reality and his faith in God. Heche plays an equal role that is done well. A typical role for her, she plays it like she is playing herself. As for Ed Harris, this is one of his best performances that was once again over looked by the critics. The surprise ending is just that, a surprise. Most if not all the audience will not see it coming. A good story, with great acting and an uplifting ending, the 3rd Miracle is a winner.

Agnieszka Holland's `The Third Miracle' is similar in many ways to one of its film contemporaries, `Stigmata." Both focus on Catholic priests who check out reports of the supernatural. Both are plagued with doubts about the faith, and as a result drink too much. Their superiors are either corrupt or evil-or both. During the course of their investigations, the priests team up with women who are not believers. They fall in love. At the end the priests and women are somewhat redeemed.

The difference in the films is what the two priests are after. In `Stigmata' it is a force that is killing the woman. In `Third' the priest (played by Ed Harris) investigates the credentials of candidates for sainthood. If he can confirm that the candidate is responsible for three miracles, he can recommend that the person be made a saint.

Harris feels guilty because a recent investigation has led to an entire community losing its faith. As a result, he has become known as `the miracle killer.' But in the course of `The Third Miracle's' plot, which focuses on Harris' investigation of a simple woman in 1979 Chicago, he regains his faith.

Convinced that there have indeed been three miracles, Harris must then argue his case before a church tribunal. A skeptical archbishop who is convinced that such a common American woman should not be granted sainthood opposes him.

The climax of the film is predictable-the average moviegoer should be able to see it soon after the archbishop is introduced. Unfortunately, the movie tacks on an ambiguous ending that leaves us wondering if the priest and woman's redemption aren't the true miracles.

The film raises a final question: Has Ed Harris ever given a bad performance, or even had a bad scene? He is assisted here by two fine other actors, Anne Heche and Armin Mueller-Stahl.

Bottom line: this is a "crisis of faith" story. The main character (Ed Harris) is a priest who has doubts, but wants to believe. He has already successfully debunked one candidate for sainthood; now his superiors ask him to investigate another. Along the way, he is sexually tempted by the saint-candidate's daughter (Ann Heche), and then opposed by a brilliant but embittered German arch-bishop. There's no sex, violence, sci-fi, or spectacular special effects in this one, folks. Just plain old good acting by the leads and supporting characters, excellent and evocative photography, and a first-rate musical score that adds to the overall enjoyment of the film. The script does have its flaws, which prevent "The Third Miracle" from being absolutely brilliant, but I was disappointed when the movie ended: I wanted more! Would that the absorbing story and its details continue: Is the candidate ever granted sainthood? Does the arch-bishop change his attitude publicly? And whose baby IS that? But these and other theological issues are what you will ponder and debate after the credits are over. And that's what makes this a worthwhile film.