Léon Morin, prêtre

This is a movie that is partly about Christianity, but it doesn't only speak to a Christian audience. First and foremost, this is a movie about characters facing difficult realities, and finding different sorts of solace in each other.

I must say, Leon Morin was a fantastic character. I'm sure its due to a combination of great acting and writing. It's the kind of priest that you can imagine having long talks with, and the kind of person you can both disagree with and show great respect. I'm sure this movie has opened up the eyes of many when it comes to what a catholic priest can be.

The backdrop of the story, the second world war in a French town, is interesting, and even though it's not really a war movie, the war is always present in one way or the other.

While watching the movie, there were times that I thought it was too slow, but after finishing it, those moments were all forgotten. The movie doesn't have a complex plot, or all that dramatic scenes. But there's so much going on between the characters, that it captures you on two levels. One is the conversations themselves, with arguments for and against God (etc.), but the other is decoding the feelings that the characters have for each other. It's easy to expect a cliché, but the movie handled the situation really well.

I saw it at different ages. and I perceived it as one of films who transforms , in profound sense, its viewer. in a special, precise manner. it is not simple to define the sense of this change. and, for not give a to subjective answer, you say only than Belmondo did the role of his life, fragile, delicate, dramatic, so simple, and Riva preserves the flavors of "Hiroshima , mon amour", using in inspired manner. it is a war film, a religious one and a love story. and something more who , after the final scene, is reflected by a state of soul. that could be all.

For someone seeking a movie that approaches faith, spirituality, and doubt in an intelligent, respectful manner, without pushing any particular agenda, Jean-Pierre Melville's Léon Morin, Priest may well be an excellent choice. It is a thinking film that does not tell anyone what to think, a wry film that does not take its subject lightly, and a contentious film that does not devolve into belligerence.

Perhaps you are weary of watching incendiary exposés in which smug non-believers do their best to make fools of people who are devout but not particularly articulate, quick witted, or well educated. It could be that you are interested in religious discussions that offer more than joking, mocking, and self-righteous phonies trying to out-Jesus one another in the name of social status.

Maybe you find no appeal in films that feature religion as little more than a means of identifying who to blow up, or perchance you have had enough of seeing reasonable questions about religious dogma summarily cast aside as blasphemy by a bunch of mindless sheep* that would not know their savior from a hole in the ground.

These are all cases that bode well for Léon Morin, Priest being a good movie to watch, because it is nothing like Religulous, Bruce Almighty, or Saved!

Instead, Léon Morin, Priest is a tale with a lot of smart dialogue between a young priest and an avowed atheist, several scenes depicting the occupation of France during World War II, some appropriate humor to keep things from getting too heavy, and a few romantic elements that won't even make grandma blush. Well…OK, she might blush once or twice, but that is about it, and really, it's good for her.

* As it turns out, Melville was fresh out of mindless sheep when he made this film. Speculation remains unconfirmed as to whether or not this is due to his alleged reliance upon the virtually unknown Monty Python Sheep Shoppe, which, despite claims to the contrary, appears not to stock any variety of sheep.

Director Jean-Pierre Melville, a French independent, had two great films in the 50s, but is best known for Le Samouraï, Le Cercle Rouge, and Le Doulos. I particularly liked his Army of Shadows.

Le Doulos also stars Jean-Paul Belmondo, who plays a priest out of type in this film set during the German occupation of France. Those expecting more of Melville's film noir, will be disappointed.

The film is mostly a series of theological discussions with Emmanuelle Riva (Hiroshima Mon Amour, Three Colors: Blue), whom he turns from her communist, atheist ways.

It was an interesting film from the beginning. Father Morin was a most interesting Priest, and one constantly wonders what will happen. After all, you never see him teaching men. It is always young women, and he has no hesitation in taking them into his room and closing the door. He is free with his hand, touching them often. Where will this lead?

A very good film, and ranks among Melville's best.

I discovered this one recently in my local market on a double DVD with a film called "Les Grandes Gueules". It was interesting to see Belmondo in the rôle of a priest and I thought his dialogue and ideas were very convincing indeed ! Emanuelle Riva, I know less but she put in a good performance too. The outcome, nevertheless, is predictable and, as is often the case in French films unfortunately, ends on a pessimistic note ! Although the film is in black and white and from 1961, picture and sound quality are reasonably good. I was most pleased to see Belmondo in this rôle which changes somewhat from stuntman and the usual commissaires de police ! I am moderately religious so was interested in the theme and ideas of the film. That said, on the other hand, to someone who is anti-religion, heathen or atheist, the film might indeed appear uninteresting and boring !