Léon Morin - O Padre

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 !

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.

Jean Pierre Melville made many great films in his career - Bob La Flambeur, Le Cercle Rouge, L'armee des Ombres, Le Samourai... etc. Melville was widely revered for putting the french back into film noir. His love of American crime drama was the dramatic basis for his films, while the work of the great European auteurs, such as Bresson, formed the artistic direction. His 1961 Leon Morin, Pretre, is then something of an exception. If films like Le Cercle Rouge or Le Doulous were a combination of American and European style, Leon Morin is all European.

Set in a town occupied at first by Italians, then Germans during WWII, Barny (Emanuelle Riva) is a widowed mother and communist. One day she walks into a church looking to belittle a priest. She chooses Father Leon Morin (Belmondo), because his name sounds less bourgeois. She goes into the confessional and begins her attack. The response by the young priest however takes her by surprise. He has wise and rational responses to her every claim. The two begin conversing regularly, the priest giving her books to read about religion and faith. The young priests rationality appeals to Barny, and she eventually undergoes a conversion, not because she wants to, but because she feels she has no other choice.

While the two converse in dogmatic banter, that is not only enlightening but interesting and entertaining, life in an occupied town goes on. Barny works at the local school in the office. Her daughter of a now dead Jew is cared for by farmers outside of town, where German soldiers train in the field. The young girl is befriended by a German who cares for her and gives her gifts. A co-worker collaborates with the Germans, but yet remains a friend to Barny. Another coworker Barny claims to be in love with, although it becomes apparent that she is in love with Father Morin, even before a friend points out that he is handsome and she claims that this was the first time she's noticed. The film plays out conversationally, with the plot revolving around ideas and emotion rather than events. It's a smart and thoughtful film, not so much concerned about where its going, just how its getting there. While the film is obviously one of faith, it is not one of traditional dogma. The young priest is so forgiving, so empathetic, that he asserts that of course one does not need to be Catholic to be saved, so long as they live by the laws of the wider church - kindness, generosity, humanity. He exists for the sake of others. During the occupation he houses anyone who needs a place to sleep, without asking questions, even names.

Characteristic of Melville, he uses interesting editing techniques and cinematography. Consider the first encounter between Barny and Morin: at times the camera looks straight on, making it appear as if they're speaking face to face, then cuts to side angle shots which show the caging of the confessional to obscure the faces. The point? I'm not totally sure, but nevertheless the effect is intriguing.

Equally compelling as Melville's direction is the performance of Belmondo. Known for his crime roles, most iconically in Godard's Breathless, he gives here a totally different kind of performance. For my money, its also one of his best. He's a bit of an unexpected choice, but he's the right choice, and he inhabits this role like its an old pair of pants.

Leon Morin, Pretre, is a surprising film. Surprising in its creation by Melville, in its acting by Belmondo, in its portrayal of life in an occupied town, and in its sheer intelligence and humility. It's also a wonderful and heartfelt film.

I generally do not go much for Melvilles's works:a lot of them deal with manly friendship among hoodlums ;they were influenced by the American film noir genre ,as for instance Robert Wise's "odds against tomorrow" but they do not equal them.There are sometimes gigantic metaphysical pretensions ("le cercle rouge" (1970);"le samouraï (1967)).Besides, these works are overlong,slow-moving and dull.

Paradoxically,his works I find the most intriguing and interesting are his non-gangsters movies:both "le silence de la mer" (1948) and "l'armée des ombres" (1969) deal with French resistance during WW2 and they are both commendable."Les enfants terribles" (1950)perfectly captures Cocteau 's spirit .And then there's "Leon Morin prêtre".

This movie is a different matter ,because its main purpose is religion.A cast against type Jean-Paul Belmondo (whom Melville would direct again the following year in "Le doulos" )rises to the occasion and thus shows he could have been more ambitious in his future career.But facing Emmanuelle Riva ("Hiroshima mon amour" ) was not an easy task,because ambitious she definitely is:one of the subtlest actresses French cinema had ever known,she never had the career she deserved because her playing was too brilliant and probably scared most of the directors .Here she delivers the goods:her part of an atheist who meets a priest during WW2 is very austere and may repel some,but her performance is thoroughly fascinating.The first line she says to priest Morin is "Religion is the opium of the people:then begins a bewildering story,during which she regains faith.And this renaissance is ambiguous:is-it because of the tragical events that stem from the war that surrounds them -one of her friend's son is sent to a concentration camp ,and he'll never return-? Is it because she is madly in love with the priest -one scene shows her try to get him into her bed-?Is it because hers is such an unfulfilled life -a daughter,but no partner-?Is it because of the priest's convincing words ,now simple,now very intellectual?The movie consists of very long conversation about faith -a whole scene revolves around Christ's famous words :"my God why have you forsaken me?"-.

That's why I would recommend the movie to people interested in theology ,or simply to believers.The others may yawn their head off.