Nostra signora di Fatima

Being from Portugal, and having seen both films, no wonder why real-life Soror Lucia at the time didn't like the 1951 movie... it's lyrically beautiful and most of the movie was shot in Portugal, but it doesn't make up for the reality that it was. At least, the actors tried the best they could for making a nice movie.

The 1997 movie (called "Fátima", and originally conceived for the television broadcasting) itself, being Portuguese and made there, gives a much better accuracy of what really was the miracle of Fátima, the destiny of the chosen Lúcia, Jacinta and Francisco; and even including secondary stories (wondering if that secondary story was real or not). The parting of Jacinta and Francisco, while is not included in the 1951 movie, it is in the 2001 movie, with great drama.

However, both are two must-see movies...;)

You'll really believe on the miracle which conquered millions of people in Portugal :)

Missing the mark is this MIRACLE OF OUR LADY OF FATIMA, although a sincere attempt has been made to tell the story without too many additions or over-dramatizing of actual events. Even Max Steiner's busy background score is not enough to overcome the many flaws evident in the telling.

The simple truth is that none of it comes to life as vividly as THE SONG OF BERNADETTE managed to do during the previous decade, with its nuanced understanding of the various political events that shaped the period. Here the political elements are seen simply as a repression of all things pertaining to religion and oppression of The Catholic Church by the authorities in Portugal in a sort of paranoia about Communism.

To be fair, this tale of children seeing The Virgin Mary and stirring up the wrath of unbelievers is told in a straightforward manner without any name stars or over-dramatizing of the actual events. And the only marquee name is GILBERT ROLAND whose role is that of a fictional rogue who helps the children when they need some aid.

But the children are not quite up to the task demanded of them by the screenplay (nor are they as appealing as they ought to be) and the script never matches the soaring religiosity of Steiner's musical themes. The climactic spinning of the sun for the miracle sequence is well done even though this was long before CGI effects were available.

On the technical side, the Warnercolor badly needs restoration. It has a muddy look that surely is not intentional nor the way it looked when the film was originally released.

Overall, a fairly accurate re-telling of events but not as inspirational as it should have been. Hopefully, it will prompt those who don't know the Fatima story to do some research of their own.

After seven years of political strife in 1910 Portugal--wherein clergymen became the target of a socialist regime and arrested--a new era dawns and people head back to the church. In this fragile setting, three children--whose pal is the local con-artist/thief/storyteller--claim to have a seen the holy vision of a woman floating above the "cova", who tells the oldest child she must come back every month for six months before the Lady will explain what she wants. Naturally, the story spreads throughout the village that the children have seen the Blessed Virgin, and the kids are branded as liars. Although a disclaimer tells us the film is fictitious, this event was indeed based upon a real incident (filmed previously in 1951 as the Spanish-language "La señora de Fátima"). It is a maddeningly simple-minded movie with manipulative undertones which, when combined with the artificial look of the picture, can put viewers on the defensive. On the other hand, when tender, tremulous Susan Whitney comes under fire and must endure the suffering from her squabbling elders, you might feel a little tug at your own heart. ** from ****

In 1917, three shepherd children living just outside Fatima , Portugal have visions of a lovely lady in a cloud . It happened on May 13, 1917, ten year old Lúcia Santos (Susan Whitney) and her cousins Jacinta (Sherry Jackson) and Francisco Marto were herding sheep at a location known as the Cova Da Iria near their home village of Fátima, Portugal . The anticlerical government carried out a communist state coup (1910) and they wish to squelch the Church ; then reports of religious experiences are cause for serious concern . Yet the children stand by their story, and holy Virgen brings a holy message . But an administrator of the town (Frank Silvera) detains the children though they are supported by Father Ferreira (Richard Hale) . While , a skeptical man named Hugo Da Silva (personified by Gilbert Roland) helps them .

This pleasant picture contains a message of peace and hope for humanity . This is a good film with a religious plot and memorable final in which the Virgen proves her reality with a spectacular miracle that is seen by everyone present . The movie displays a colorful and evocative cinematography by Edwin DuPar . Emotive as well as sensitive musical score by the classical Max Steiner , nominated Oscar Best Music, Scoring of a Dramatic film . The motion picture was well directed by John Brahm who directed two masterpieces back-to-back: the stylish and moody 'Jack the Ripper' and, in a similar vein, ¨Handover street¨(1945), a Gothic melodrama about insanity and murder, set in Victorian London. Another of Brahm's films, not in the same league as the aforementioned, but nonetheless quite enjoyable, is ¨The Mad Magician¨ (1954). Other pictures dealing with historical facts about Fatima are : ¨La Señora De Fatima¨(1951) by Rafael Gil with Inés Orsini as Lucía Abóbora , Fernando Rey , Tito Junco , José María Lado and ¨Fatima¨ (1997) (TV) by Fabrizio Coasta with Joaquin De Almeida , Omero Antonutti and Vanessa Artunes as Lucia .

The historical events are the following : the Spring and Summer of 1916, three little shepherd children, Lucia Santos and her two cousins, Jacinta and Francisco Marto, experienced the visitation of an Angel on three separate occasions. The Angel appeared to them as they watched their sheep, teaching them specific prayers to pray, to make sacrifices, and to spend time in adoration of the Lord. These three visits were apparently to prepare the children for the visitations of the Blessed Mother, which were to follow in 1917.There was built a Chapel of Apparitions, at the place where the Fátima apparitions . Lúcia described seeing a woman "brighter than the sun, shedding rays of light clearer and stronger than a crystal ball filled with the most sparkling water and pierced by the burning rays of the sun". Astonished they ran back to their village and told everyone. Further appearances were reported to have taken place on the thirteenth day of the month in June and July. In these, the woman asked the children to do penance and Acts of Reparation as well as making personal sacrifices to save sinners. The children subsequently wore tight cords around their waists to cause themselves pain, performed self-flagellation using stinging nettles, abstained from drinking water on hot days, and performed other works of penance. According to Lúcia's account, in the course of her appearances, the woman confided to the children three secrets, now known as the Three Secrets of Fátima . Thousands of people flocked to Fátima and Aljustrel in the following months, drawn by reports of visions and miracles. On August 13, 1917, the provincial administrator Artur Santos believing that the events were politically disruptive, intercepted and jailed the children before they could reach the Cova da Iria that day. Prisoners held with them in the provincial jail later testified that the children, while upset, were first consoled by the inmates, and later led them in praying the rosary. The administrator interrogated the children and tried unsuccessfully to get them to divulge the contents of the secrets. In the process, he threatened the children, saying he would boil them in a pot of oil, one by one unless they confessed. The children refused, but Lúcia told him everything short of the secrets, and offered to ask the Lady for permission to tell the Administrator the secrets. That month, instead of the usual apparition in the Cova da Iria on the 13th, the children reported that they saw the Virgin Mary on 15 August, the Feast of the Assumption, at nearby Valinhos.[3]As early as July 1917 it was claimed that the Virgin Mary had promised a miracle for the last of her apparitions on October 13, so that all would believe. What happened then became known as the "Miracle of the Sun". A crowd believed to number approximately 70,000, including newspaper reporters and photographers, gathered at the Cova da Iria. The incessant rain had finally ceased and a thin layer of clouds cloaked the silver disc of the sun. Lúcia, moved by what she said was an interior impulse, called out to the crowd to look at the sun. Witnesses later spoke of the sun appearing to change colors and rotate like a wheel.

It is all too easy to find positive or negative aspects of the religious message of this film, released nine years after "The Song of Bernadette." In the ravaged middle of the twentieth century, torn up by wars and desolation, movies of faith helped to revive the spirits of many people, and that alone gave films like this great value. But the fact is, it is also great movie making, with a great story. While in my mind it does not match the sheer artistry of "Bernadette," It is well constructed and captures again the two sides of the question, whether to believe or not believe. There is a lot of documentation to support the validity of the story, but again if one chooses not to accept it, all the evidence in the world would be meaningless.

None-the-less, the catholic church took it very seriously. Sister Lucia, it is rumored sent a sealed letter to Rome just shortly before her death with the third and final message of the "lady." with instructions that it not be opened until a specific date. whether or not this is true, I do not know, but I do know that this is one of those films that will last for generations.