ricrisci

A combination of Bad Education and Les Amities Particulieres in that it involves a triangle of two students at a religious boarding school in 1950's France and a priest who views the older one as a rival. That an older boy or a priest would love a boy is a subject not only tolerated but openly discussed, accepted, and philosophized about to a point that would be impossible in this day and age. It is truly remarkable in that respect.

One would think it would be a tender man who would fall in love with a boy, but the priest shows himself to be quite the emotional sadist. His straying from God's work is brought to light by the Superior who has been observing all along. How is it possible such a man could stray so far is something we are left wondering in an appropriately unsatisfying ending. It is nevertheless highly recommended.

Excellent performance by the older boy Sevrais (Nael Marandin) and the evil, boy-loving priest de Pradts (Christophe Malavoy).

This is the very timely story of the relationship between a priest and a teen who wants to be one in modern day Naples. It is portrayed as a pure, honest, innocent relationship on the part of both.

While most of the people close to either of them are aware of the relationship after Nunzio moves into the church, it is refreshing to see how they treat it in an almost matter-of-fact manner. There is some minor ribbing by some acquaintances but nothing like the mean-spirited harsh torture a boy in modern America who willingly participated would be subjected to.

When Fr. Borelli refuses to compromise his morals and silence his campaign against the camorristas (mafia), a campaign is launched to have the boy denounce him.

This is one of the most sympathetic portrayals (better than L.I.E., up there with Man Without a Face) ever shown on screen, and is also commendable as showing how social workers and those in one's environment can pressure youths into denouncing even those seen as close friends. An important film in its genre. 9 Caution: explicit scenes but no full frontal nudity.

DATE: 2002-07-18 " - ricrisci

City of God may be a good work of art but if I were to prioritize all such good works to be seen in the world, this would not be near the top. I already live in a world with enough violence and misery around me, so when I go to the theater I prefer to see objects of beauty. The message that senseless violence begets only more senseless violence is a good, if trite, one. But all I could think throughout the film was, "Who will shoot whom next?"

All the hoods are older teens, except for a very minor role played by the runts. Seeing mere boys get shot was another turnoff. There was a certain coherence to the movie and if it serves to raise consciousness about the awful plight of Rio de Janeiro's street children, a la Pixote, there may be value to it. I prefer to raise my consciousness in more subtle ways.