Del destino nadie huye

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.

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

Considering it provides a rare opportunity to see Bogart in colour, is set during the civil war in China, Bogart pretends to be a gun-toting priest in his most bizarre role since playing a vampire over fifteen years earlier in 'The Return of Dr X' and Lee J. Cobb plays a Chinese warlord, you come out of it thinking "is that it?"

Bogart looks very old and tired, but he and the rest of the cast all do good work; although Victor Young's obtrusive score over-eggs the pudding as usual.

Humphrey Bogart and Gene Tierney headline this 20th Century Fox production. It is one of Bogart's few color films.

I liked the fact that the two lead characters in The Left Hand of God don't wind up together and that there is not a romantic happy ending. It certainly would not ring true for these characters and their situation.

I didn't buy Lee Cobb as the warlord. He's a great actor, but for him to play a role in yellow face, he would need to look at least the tiniest bit Asian. He doesn't. He has too wide a nose and lacks the type of delicate features that would make him physically believable as an Asian. Agnes Moorehead is good as always.

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.