Thérèse

The life of little St. Therese of Lisieux, depicted in minimalist vignettes. Therese and her sisters are all nuns in a Carmelite convent. Her devotion to Jesus and her concept of "the little way" to God are shown clearly, using plain modern language.

It won the 1987 César Awards for Best Film, Best Writing, and Best Editing. The film also won the Jury Prize at the 1986 Cannes Film Festival. Catherine Mouchet won the César Award for Most Promising Actress for 1987 for her performance. Did she fulfill that promise? Although still acting thirty years later (2016), I think it is safe to say that "Therese" remains Mouchet's best known film.

Which is not to say she shouldn't be known for it, because it really does capture the lie of a saint in a modest and respectful way. I am not terribly religious, but I see the appeal and this would make an excellent film to show to younger people about devotion and faith. The world has fewer nuns these days, and perhaps that is a mistake.

Enjoyed this film starring Catherine Mouchet, (St. Therese of Lisieux) who wanted at a very early age to become a Nun and was refused by her own Priest and clergy of her faith. Therese also went to the Pope and was declined and had to wait for about two years. This film shows the deep love Therese had for her Lord and other sister's whom she pours her heart and soul into helping others. There is a grave illness that Therese develops and she refuses to take any medicine for the pain and suffering and prays constantly to her Lord and Savior. Great look into the life of a young girl who wanted nothing else in life but to become a loving person for others.

As an avid reader of St. Therese's writings myself, I thought I'd explore the available film portrayals about her life. This movie is quite literally a "screen play," quite obviously filmed on a soundstage with most of the scenes framed in front of gray backdrops. The colorless backgrounds cause one to focus more on the expressions and mannerisms of the characters, and also allow one to experience the richness of the sound (though many sound effects, such as that of a cat eating raw fish, are not exactly pleasing). In addition, the narrative basically stays true to the main events of Therese's life. Life in the convent was tough and exacting, and the stark manner in which it is portrayed gets that point across very effectively.

In spite of these strengths, the movie has its weaknesses and it does not (in my opinion) give a complete picture of Therese. One aspect of Therese that it does not do a good job of showing is her great intelligence, which really shines through when one reads her writings. Therese in this movie often seems to be a female counterpart of Gomer Pyle, a sort of dimwitted young Sister who smiles at the sufferings Jesus throws her way in much the same way that Gomer might smile after receiving a butt-chewing from Sgt. Carter. Her keen mental prowess is seen mainly in the first few scenes of the movie as she plots to save the souls of sinners and to gain entrance to the convent--once entering the convent, one gets the sense that Therese is nothing if not witless.

While portraying the mortification of the flesh that Therese practiced as a Carmelite (e.g. by wearing a cross close to her chest that had nails in the back of it), the movie does not show other important aspects of Therese's convent life that are less jarring but more important to understanding her philosophy. For example, one hardly sees Therese's "little way," the constant small sacrifices that she made for her Carmelite sisters on a daily basis that went largely unnoticed during her lifetime. The movie tends to dwell too much on those aspects of Carmelite tradition (and of Therese's life) that are more jarring to modern sensibilities and less on aspects of her life that might be perceived as more admirable. For example, one doesn't see that Therese was a prolific writer for her entire adult life (which she was, churning out enough letters, poems, prayers, and plays over nine years to fill several books--not to mention her autobiography). Therese was also a strong and exacting leader, put in charge of the novices for a few years toward the end of her life; in the movie she is portrayed as more of a servile follower.

The movie, while not overtly taking sides as to the veracity of Therese's faith, does seem to view the 19th century nunnery through a late 20th-century lens by portraying things that would not have been discussed if they ever had happened. For example, one nun seems to have (barely) repressed lesbian tendencies While another appears to be a man who has managed to pass as a sister. While titillating the imaginations of moviegoers by throwing in a bit of scandal, these anecdotes do little to help us understand who Therese really was.

Perhaps a 90-120 minute movie can never give total balance to any person, but the Therese that is portrayed in this movie is not the same sharp, tough-yet-sentimental figure whom I met in her writing. As a piece of cinematography, though, it does have its own strengths and should not be passed up solely because of the weaknesses I have outlined.

As a lover of saints and cinema, I seek out films with true depictions of holy personages. This one takes the cake. Cavalier himself called it a documentary. The auspiciousness of saint Theresé is channeled and caught in every artistic detail for 90+ minutes of immortal artwork.

One of the reviewers of this film said that it was perhaps the most boring ever made. I might agree with him if not for the fact that each scene is set up so perfectly, exactingly austere yet very rich. The palette the director chooses for his canvass are soft browns, blacks, muted whites. Certain scenes delight with their unexpectedness- the three fish that are given to Therese by her invalid father, the gift of the wooden Christchild at Christmas, and the flagellation scene.

You might say "Therese" is a religious film, but then one could also make the argument that this film displays an asceticm both neurotic and self-absorbed. It is certainly not the standard by which we judge "spirituality" these days; however for centuries this is the way a good part of Christendom sought the divine.

This film is certainly anything but boring. It is unusual, enlightening and a small delight to the senses in much the manner of an Emily Dickinson poem.