Luther

Movies don't come duller than this stiff filmed stage play that revolves around the sexy topic of the Reformation, to the accompaniment of the always pulse beating Gregorian chant.

Albert Finney created the role of Luther, which he played in both London and New York between 1961 and 1964. Every review of Finney's performance that I have seen was positive. So I can't help wishing that he had played the part on film.

I believe Stacy Keach is one of the best American actors, but he seems to struggle with this role, at least during the early scenes, in which he uses, bizarrely, a pseudo-Irish accent. Later on, however, Keach digs more deeply into the role; and his performance is ultimately impressive, even moving.

The play seems a little dated, particularly regarding its neo-Brechtian touches over Luther's diatribe against the peasants. But given Keach's work and that of the splendid supporting actors (especially Robert Stephens, Judi Dench, Patrick Magee, Alan Badel), the film remains well worth seeing.

"Luther" was part of the American Film Theatre series, in which certain plays were adapted for film and exhibited in some 500 US theatres on a subscription basis --

The TCM showing of LUTHER was preceded by a discussion of Ely Landau's efforts to make the American Film Theater as a subscription effort to bring the best of the stage to a wider audience. There's no doubt about the excellence of this production, with some fine performers -- all British except for Stacy Keach in the title role -- under the direction of the able Guy Green. Yet I find the entire series, and this in particular possessed of an artificiality that renders it less compelling than it might have been. Despite the gracefully moving camera, it remains a stage play removed from its own environment, a dying fish flopping on the sand.

That reaction may be informed by, as I have noted in other reviews, an absolute lack of understanding of faith. Yet I remain conflicted; truth is truth, facts are facts, and the truth or falsity of Luther's beliefs and arguments -- as well as those who face him in this straw man argument --are not affected by his humanity and foibles. While Luther's position may be seen as the struggle of a lone man against authority, his appeal to an authority other than the Pope, to the Bible, remains an appeal to authority. Why choose one over the other? Because you can justify your own position? The German princes who supported him did not do so out of any religious conviction, but to reduce the authority of the Pope and increase their own. Luther's reaction to those who interpreted the Bible other than he did is also intellectually dishonest.

Yet none of these points are emphasized. Instead, we are to side with him because we see him, and not the Pope whom he defies. In the end, we are left believing the evidence of our own eyes and ears. Given a choice between believing someone we can see and someone we cannot, we can do no other.

Instructive, but not exactly entertaining. Since I wasn't well-informed about Luther, this film filled in several details, while failing to address some of the main facts, generally well-known, about this significant historical figure. This is a filmed play, but I don't see what's wrong with that. I enjoy plays as much as (good]) movies. This is a bit of an oddity however. Difficult to tell what John Osborne was setting out to promote. Luther's reported anti-semitism was ignored, but it could hardly have been any more intense than the anti-semitism of the Roman church. Osborne seemed to be primarily concerned to demonstrate Luther's Oedipus complex, and strained relationship with his father, as motivation for his actions. This was a novelty for me.

Keach was good, but the actors featured on the DVD case puzzled me. Robert Stephens ? Leonard Rossiter ? I recognized them, but hardly saw them as stars. Judy Dench was employed for about two minutes at the very end, and her part as Luther's wife could have been taken by anyone. The impressively powerful performances were by Hugh Griffiths, as the bloated indulgences salesman, and Alan Badel as a creepy spokesman for the Pope. These two are not mentioned at all on the DVD case. Patrick Magee, as Martin's conflicted father was a strong presence, but the full significance of his role escaped me.

Great attention was paid to the esoteric rituals of the brotherhood in the early part. Towards the end the director, or the playwright, seemed to lose interest, especially in Luther's failure to stand up for the citizens who had supported his Reformation. This was in any case promoted by Henry VIII in England , for personal reasons; and his actions had already been significantly preceded by Gustavus Vasa in Sweden

Other significant actors were Maurice Denham, as Luther's mentor, and Julian Glover as a strange cross between narrator and chorus. Not sure if that was originated by Osborne. Generally a curious piece of work by Osborne, otherwise. I'm glad I sat through it, but it needed a bit of stamina. Take that as a recommendation, if you like. Check Wikipedia.

This movie is an excellent character study of the Augustinian monk, Martin Luther, and his pivotal role in the political, social, economic and religious revolt against the medieval Roman Catholic Church. This revolt, which historians later called the "Reformation", and the events that precipitated it are portrayed in an amazingly accurate fashion. To those more accustomed to contemporary "historical" movies that incorporate a fair amount of fiction in their plots, this movie may seem slow moving; fact is rarely as exciting as fiction. Nevertheless for those interested in a well-directed piece of authentic Church history with outstanding character development and exceptional acting, this is the movie to see.