O Capelão das Galeras

A very good biopic about a great man,Saint Vincent de Paul,whose charity,abnegation,generosity and humanity were so huge that Queen Anne d' Autriche used to call him "the kingdom's conscience" Filmed in black and white ,in a style close to early Bresson,the film features many unforgettable scenes : the reunion with the noble ladies who are willing to "do something" but whose world is far from them ,the Poor;the scene on the royal galley where the legend tells that Monsieur Vincent took the place of an exhausted galley slave .

Pierre Fresnay,whose unquestionable faith would turn to bigotry in his late parts ("le Défroqué" "Tant d'Amour Perdu" )finds here his lifetime part.Sometimes it seems that the Saint rose from the dead.

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Pierre Fresnay stars as the famous Catholic saint. This film is a biography of the man but it doesn't really follow his entire life--just from the time he founded his charity for the poor until his death. So, exciting stuff in his life before this isn't even mentioned--such as his being captured and enslaved by Barbary pirates!! I think they chose to do that in order to tighten the focus of the film. Instead, it focused on the selflessness of the man, the wretchedness of the poor and the many good things he got his lady followers to do.

The film is very simply made and the film seems straight forward and without the excesses of some religious movies of the day. In other words, Vincent is a man who is driven--but with no halos or crazy music or insane stares into space. I liked the film and it's a religious movie that is approachable and excels with its simplicity.

This was only the second movie to be honored with a Special Oscar as the year's Best Foreign-Language Film, after Vittorio De Sica's SHOESHINE (1946). In retrospect, while a fine achievement in itself, it is not quite in the top rank of French productions (even those made around this same time) – for the record, the country would receive two more such wins, both for director Rene' Clement, i.e. THE WALLS OF MALAPAGA (1949) and FORBIDDEN GAMES (1952), before the category was officially incorporated into the 1956 ceremony.

The film is a religious biopic, the subject being the priest revered for his unselfish aid towards the poor/moribund community in the 17th century and who would eventually be canonized as Saint Vincent De Paule; incidentally, the national old people's home (where my paternal grandfather expired in 2002) is named after him. The success of the movie rests more with Pierre Fresnay's commanding central performance (which earned him the Best Actor award at the Venice Film Festival), Jean-Jacques Grünenwald's rousing score and Claude Renoir's splendid cinematography (that said, the print I watched seemed unduly bright) than the narrative itself (though scripted by famed playwright Jean Anouilh) – which tells a pretty standard tale of a man being initially misunderstood and scorned, then endorsed and abetted. Even so, a few scenes certainly do stand out: the priest getting relentlessly stoned as he lends a helping hand to a would-be plague victim; taking the place of an exhausted galley slave; listening to the 'miserable' sounds of fellow residents at his lodgings; the fights between the myriad mangled patients for a place on the hospital's over-crowded beds, etc.

The supporting cast here is notable for showcasing future stars such as Claude Chabrol regulars Michel Bouquet and Jean Carmet. By the way, given the subject matter, I was reminded throughout of two of my favourite film-maker Luis Bunuel's best efforts, namely NAZARIN (1959; which, like MONSIEUR VINCENT itself, is included in the Vatican's 45-title list of "Some Important Films"!) and VIRIDIANA (1961).

There are many heart-rending scenes in this film, like taken directly from the reality of the 17th century with all its infernos of gutter life of the poor, the hungry, the sick and the invalids - they are all here, collected in Monsieur Vincent's hospitals for everyone in need, in whatever condition they are, and his hospitals and almshouses are always crowded, even with beggars and invalids fighting over beds that just have become vacant after one patient has died. Pierre Fresnay makes an unforgettable impersonation of the great pioneer of charity, penetrating deeply into the mind and character of the humble priest, who basically had to stand alone all his life against the overwhelming inhumanity of man, and even of women. It is a rich film, not hesitating to expose every aspect of the saint's difficult life and all his adversities, as even the beginning of the film brings you right down the shocking abyss of the horrible recklessness of man, as he gets stoned by the villagers, hiding behind their closed windows, when he comes to take his office as a vicar in a village that has been without a priest for ten years, all the villagers having turned savage as a result. It is a walk through a hell that never ends, and when Monsieur Vincent finally feels his end is coming (at almost 80 years), his dominating feeling is of insufficiency, that he hadn't done enough, that he hadn't really done anything at all during his 50 years of constant overwork, only for the poor and the endless crowd of interminable and eternal incurable misery...

A man with the history of Vincent De Paul would daunt any biographer trying to do him justice, but Maurice Cloche and company hold a decided edge over the monumental task. To undertake it with them, they have the mercurial Pierre Fresnay to play "Monsieur Vincent." Fresnay is critic John Simon's favorite actor, and if there was nothing more than "Grand Illusion" with which to justify his choice, it would still be a worthy one. This movie merely confirms his pre-eminence and our towering esteem.

It opens with De Paul entering the village Chatillon-les-Dombes where he is to assume the vacant post of parish priest and is welcomed with a stoning as he tries to save the life of a girl who has been boarded up in the house where her mother lays dead of what the villagers suspect is the plague. After petitioning the lord of the village to help without success, he takes matters into his own hands, acquiring the help of the church's caretaker to feed the famished child and bury the dead woman. He reprimands the villagers for their lack of charity, and sets out to administer the sacraments and help the family who took the orphaned girl in. He spurs on the people to such heights of charity with his sermons that they offer the family far too much to eat or store, and recognizing the waste that would ensue, he sets out to organize the people to provide for all those wanting with necessities.

The needs of the poor that Vincent De Paul tried to fill went far beyond the French countryside settings of Chatillon and Clichy. He rubbed elbows with nobility and even the royal family. This provided him with the opportunity to minister to the poor in all states of life, whether they were prison inmates or galley workers or refugees (of which there were thousands given the state of turmoil France was in at the time) or the unemployed. While he was breaking new ground on how the Church should organize itself to serve the poor (He founded the Ladies of Charity made up of noblewomen and the Daughters of Charity made up of women of lesser station.), he was also settling moral issues (The most dramatic one is the controversy he has with the charitable organizations over the taking in of foundlings.), advising against duelling, tutoring noblemen's children, and counselling priests and establishing new outlooks on how to take in new ones. The movie can only graze the surface of the phenomenal work of this great man. A much longer runtime would be in order; it could touch on the earlier part of De Paul's life (He had been abducted by Barbary Coast pirates and sold into slavery where he remained for two years under the control of an apostate priest turned Muslim whom he later converted and with whom he returned to France.) and deal with more controversial issues (His denouncing of the Jansenists; his failed plea with the minister Mazarin to leave France to stop the war.). Given the time "Monsieur Vincent" has to pay its homages, the movie uses it laudably well. Whatever its limitations, this is one of the greatest biographical movies ever made.

With a very young Michel Bouquet as a consumptive with whom Father De Paul shares his rented room and who opens the cleric's eyes to a society fraught with misery.