Sur le chemin de la rédemption

It's as stark as a Scandinavian winterscape. Ethan Hawke stars as a troubled pastor in a small Upstate New York town. He's assigned to an ancient church (founded in 1767) that's basically a tourist spot and part of a megachurch that seats 5,000 and televises regularly for donations. You know the type.

Anyway, Hawke has a troubled past. His marriage fell apart after his son was killed in Iraq (for nothing) and he may have cancer. He wanders the empty parsonage like a ghost. He's called by a local woman (Amanda Seyfried) to counsel her radicalized husband. He's a warrior against those who are killing the planet for personal gain. He's totally obsessed with industrial pollution and climate change, etc. The wife panics when she discovers a suicide vest loaded with explosives.

The other main plot has Hawke dealing with the slick megachurch bureaucracy and its major donor, who has a history of polluting the environment. Hey, I said this was stark.

After several plot turns, the film almost reaches it conclusion but the screen suddenly goes black and silent just as we're about to reach the climax. I thought my streaming service went out. A very off way to end a film, but probably effective. I think there's more than a passing nod to Flannery O'Connor's brilliant novel, Wise Blood, and Hawkes' Toller shares a close kinship with O'Connor's protagonist Hazel Motes and his "Church without Christ." This is a somber and fascinating film by Paul Schrader and certainly not to all tastes. It's worth sticking with because of Ethan Hawkes' excellent performance.

I never expected to be so moved by "First Reformed", a small indie that tackles large themes such as climate change, mental health, and faith rather ferociously. Though it is a bit of a slow-burn at the start, it's impossible not to be drawn in by Ethan Hawke's magnetizing performance. He is masterful as Ernst Toller, a pastor who begins to unravel after an encounter a husband and wife who are environmental activists. The second half of the film is particularly strong, as Toller's polite and unassuming facade begins to crack, and writer/director Paul Schrader makes some daring filmmaking choices that add to the unpredictability of the film as it heads toward the climax. Though the ending has been controversial among audiences, I thought it was an incredibly bold, beautifully executed choice, and the final few minutes of the film have been seared into my mind. Regardless of how you respond to the ending, there is no doubt that this is a thought-provoking and important piece of art. A must-see.

Apparently, I am the oldest person commenting on this extraordinary film to recognize that the plot, characters, and pacing can all be traced back to Ingmar Bergman's Winterlight, Yes, Paul Schrader has created a great new original film but we must recognize its sources and failure to do so leaves us withering. You will not have to see Ingmar Bergman's original to appreciate this film, but the fact that so much comes from that film makes it weird to me that no one has recognized it so far. Beautifully executed, gorgeously shot and accomplished acting all contribute to the effectiveness of this film. It may seem a little shallow to some, but it is very worthwhile.

My Rating : 7/10

If you like the great filmmakers of the black and white era such as Bresson and Bergman you will enjoy 'First Reformed' as you can see direct influences from Diary of a Country Priest and Winter Light here.

Made for the 2018 audience, it's a dark character study similar to what Schrader's done in Taxi Driver before. I enjoyed it for what it is and the overall slow-burning narrative.

Some objectively good movies also make you feel good while watching them. Others crush you with weighty material, penetrating emotions and powerhouse performances. 'First Reformed' falls into the second category.

Legendary writer-director Paul Schrader returns to his past glorious form with this film. Some 40 years after writing 'Taxi Driver', he unleashes another portrait of a man experiencing a deep existential crisis as he sinks further into despair because of what he perceives to be a failing humanity.

Our new Travis Bickle is Reverend Ernst Toller (Ethan Hawke, in an Oscar-worthy performance). Toller runs a small church in New York state called First Reformed, which has a dwindling congregation of merely a dozen. Nearby, First Reformed's parent church, which has a following of thousands, is headed by Reverend Jeffers (Cedric the Entertainer). Toller and Jeffers clash over their ways to best perform the Lord's work. Toller rejects all physical possessions and scoffs at the financial success of the parent church, while Jeffers futilely attempts to convince Toller that wealth and religious commitment are not mutually exclusive.

Toller is not a well man. He struggles to take joy in any aspect of life. His past haunts him, as do the present failures of humanity. His despair becomes increasingly clear with each passing day that he writes in his diary, which was intended to be a form of prayer and offer clarity but instead only serves as a vehicle for him to psychologically self-punish. As his mental health suffers, so does his physical state. He's sick, probably dying, but he guzzles hard liquor daily despite the stomach pain it causes. Perhaps this too is self-punishment.

As Toller struggles to find a purpose for his remaining time on Earth, one appears before him when a pregnant parishioner, Mary (a career-best Amanda Seyfried), asks him to counsel her suicidal husband. Toller agrees, but the conversations don't lead to any relief for either party. Toller believes he finds a purpose, but anyone of sound mind would hardly consider it a Godly cause.

This all builds to a climactic scene that will leave some viewers in breathless awe and others in maddening disbelief. I took the final moments as a welcome relief after a punishing first 105 minutes, but some may see the abrupt pivot in tone as off putting. In any case, it's certainly spiritual trip and one that will stick with you long after the credits roll.