For the first time in three years, I was in Toronto during the Toronto International Film Festival. But, in contrast to my experience at the Montreal World Film Festival, during which I saw 30-odd films in 10 days, I was only able to see one film. However, it was a great choice.
The French film Lourdes is not what a good Catholic would expect–it doesn’t retell the story of young Bernadette Soubirous’ amazing visions, nor is it a documentary on the miraculous. Instead, director Jessica Hausner chose to focus on what it’s like to go on a pilgrimage to Lourdes today in search of healing. Every character in the story has a different approach to faith: the devout, the casual believer, the superstitious, the desperate, and the cynic. Despite the unusual perspective of the film, I think that St. Bernadette would like the unusual and very human protagonist, Christine.
As I was planning my own review, I received the news that Lourdes won both the SIGNIS award and the Fipresci Award (from the International Federation of Film Critics) at Venice Film Festival. SIGNIS’ statement describes the film so well (and better than I could) that I include it below:
SIGNIS STATEMENT – September 14, 2009
The new film, Lourdes, is a project written and directed by Austrian Jessica Hausner who has a Catholic background. However, she does not approach the subject from an explicit Catholic point of view. Rather, she wanted to put on the screen the Lourdes pilgrimage experience and to raise the issues of the nature of God, the possibility of miracles and the ‘fairness’ of God in granting healing to some and not to others.
The film-makers discussed the project with the bishop of Tarbes, where Lourdes is situated, and received collaboration during the making from the shrine authorities. It is certainly a film Catholics can be comfortable with, the presentation of devotion and faith, the range of perspectives of the pilgrims themselves, the experience of healings. The questions the film asks are those that believers and non-believers must ask.
The film shows a group of French pilgrims, with their chaplain and assistants from the Order of Malta, following the rituals of the visit to Lourdes: the grotto, the Eucharistic blessing, confession, processions, bathing in the water… The central character, Christine, has severe MS and is paralysed. She has come with some devotion but, principally, for a trip. The elderly lady she shares a room with is prayerful and solicitous for her. During the pilgrimage, Christine feels a growing strength and seems to be healed. There are various responses from the group, joy and suspicion, and the film is open-ended concerning Christine’s future.
What the Audience Sees
Non-Catholics have been puzzled and some admiration for what they see. The gathering of the sick seems to some just like one of those revivalist tent gatherings, full of enthusiasm, which have sometimes been exposed as frauds. Confession is often problematic for those who have never participated in it. The touching of the grotto wall, the statues and candles may seem quaintly devout. Outside the precincts of the shrine is the kitsch-commercial paraphernalia of images, candles and souvenirs.
The film’s attention to detail will be appreciated by Catholics. It may not lead anyone in the audience, except the devout, to think that Lourdes is a place that they should visit. The sceptics in the audience will generally remain sceptical though they may appreciate better that authorities in Lourdes have procedures and doctors to examine those who think that they have been cured. The psychological benefit of religiously going to such a shrine will be appreciated – believers realising that this can be a personal healing experience in itself.
The priest with the group is down-to-earth (playing cards in the evenings and showing a sense of rhythm in dancing at the social at the end of the stay) but the lines he is given, inside and outside the confessional, tend to be the abstract sayings about God and freedom along with rather facilely quoting texts from the scriptures about completing the sufferings of Christ in our own bodies.
A great strength of the film is the performance of Sylvie Testud as Christine. As an ill woman, confined to a wheelchair and completely dependent on others, she is both sweet and kind, extraordinarily patient despite her confessing to being angry. She is a woman of faith, joining in the hymns, prayers, visits to the grotto. However, she also wants to socialise, experience the pilgrimage as an outing. Her experience of healing is at first tentative, not immediately very spiritual, an entering into the ordinary, even banal, world of day-by-day. Is this a miracle? Not? Does she deserve this experience? Will it last – and does this matter? Does her experience challenge her deeply? Spiritually?
APPENDIX: ISSUES RAISED: GOD, FAITH, MIRACLES.
God
Almost all of the characters believe in God. The characters do not question God’s existence. That questioning may be for many in the audience. What the characters do is express different aspects of belief.
One of the difficulties in discussions about God is God’s seeming arbitrariness in dealing with suffering people. If God is God, why does God not intervene directly in the world and in people’s lives (while we fail to remember how much most of us resent parents and authorities when they do intervene and take away our freedom and freedoms)? The other question is that of suffering – and one needs to reflect on Elie Wiesel’s response when asked where was God in the holocaust. His answer suggests that God was in the ovens and with the suffering concentration camp victims.
Jessica Hausner has remarked that one effect of making Lourdes was to make her question more strongly the ‘fairness’ of God in dealing with different people, favouring some and not others.
Faith
There is an unfortunate presupposition amongst believers and non-believers alike that discussion of faith limits itself to the intellectual aspect of faith: believing what God says, intellectual assent to the truth. This keeps the discussion in the realm of the mind and focuses on ideas, reason and logic.
However, faith is something lived, lived in ordinary day-to-day life as well as in crises. It is what St Paul calls ‘faith from the heart’. Faith is a spirituality in action, sometimes heroic, sometimes faint. This is dramatised in the characters in the film but, in the context of the Lourdes experience and people being prone to focus on faith and ‘truth’ in discussion, drawing attention to this more explicitly without being didactic would have enhanced the film and given more nuanced attention to the characters. The traces can be seen in Cecile, the Order of Malta leader, and her rather ascetical lived faith, and the old lady, pious and kind, who looks after Christine.
Miracles
In the early centuries of the church, miracles were claimed at the drop of a crutch, many of the reported miracles being enhanced storytelling. In the century of ‘Enlightenment’, the 18th century, Benedict XIV tightened criteria for the acceptance of a miracle. The language was used of an occurrence (generally a cure) being outside the laws of nature. More recent theological reflection highlights another criterion: that the cure take place as a response to and in the context of prayer. Maybe an occurrence is a psychosomatic experience but, in the context of faith and prayer, it can be described as ‘miraculous’, even though the ‘big’ miracles are those which seem to transcend the laws of nature.
Bringing this line of thought to what happens in the film, Lourdes, raises interesting issues of whose prayers are answered, whether Christine has experienced something miraculous (‘big’ or ‘psychosomatic’) and what is the nature of her spiritual experience – of the healing and its consequences for her life, of the challenge to her intellectual faith and to her faith from the heart, of her witnessing God’s healing love and power?
There are some suggestions in the film – and Jessica Hausner does not want to make a propaganda film – but visitors to Lourdes have testified that they have experienced so much more of this faith from the heart which transcends previous experience.
For the press release about the SIGNIS Award, visit: http://www.signis.net/article.php3?id_article=3458
SIGNIS is the World Catholic Association for Communication, bringing together radio, television, cinema, video, media education, Internet, and new technology professionals.
My newest book, See Yourself Through God’s Eyes: 52 Meditations to Grow in Self-Esteem has just been released.
Popieluszko: Freedom Is Within Us
November 3, 2009 by windowstothesoul
For those who don’t know him, Father Jerzy Popieluszko was born into a devout Catholic family in eastern Poland in 1947. Despite the political atmosphere, he decided to study for the priesthood. After two mandatory years of military service, he was ordained and served in several parishes, finally being assigned to St. Stanislaus Kostka parish in the city of Warsaw. In 1980, Solidarity was born, and Popieluszko was asked to celebrate Mass for the striking workers. He became their chaplain and their champion. On December 31, 1981, the government imposed martial law and started persecuting the leaders of Solidarity. Father Jerzy was tireless in assisting the workers and their families. He also became famous for his widely attended monthly Mass for workers, where he preached about human dignity and the possibility of peaceful change. After several years of intimidation by the government (including arrest, imprisonment, and death-threats), Father Jerzy was brutally murdered by the Polish secret police on October 19, 1984. Here’s a link to a one-page biography: http://saltandlighttv.org/blog/?p=7563
The film, Popieluszko: Freedom Is Within Us, is not always easy to watch–but for those with a little patience, it is compelling and rewarding, because of its artistry, its attempt to “bear witness” to the life of Father Jerzy in a respectful and honest way, and the hope it offers to all who have known oppression.
Artistry
Biopics, when well-done, are probably my favorite genre. But many are so poorly done that they seem to fall into another, separate genre altogether. It is extraordinarily difficult to weave the many strands of a person’s life into one compelling portrait that is also a cohesive story with unity and thematic depth. Poor biopics seem to use the fact that it’s a “true story” as an excuse to avoid this difficult work. Which means good, solid biopics are to be appreciated all the more.
One aspect of artistry which stands out is the filmmakers depth of research and commitment to accuracy.
Accuracy
The film seems to capture well the tension of those times where it was dangerous to say the rosary with too much devotion, never mind express a political opinion. One interesting facet of the film is the director’s choice to occasionally cut in real historical footage, which, rather than distracting, heightens our awareness that this is a true story.
I know of no other feature film where a cardinal acts as himself onscreen, and yet this is exactly what Cardinal Glemp does. (And the first scene is not so complimentary.) This gives a unique “texture” of authenticity to the scenes where Father Jerzy interacts more directly with his superiors–a texture which otherwise might be hard to believe: that someone so actively and intensely devoted to the spiritual care and the human dignity of his people could combine that with a humility about his own opinions and a real trust in the obedience he has vowed, in the persons of superiors who did not always agree with him.
Another distinction that the film makes is that, while the government called his preaching “political,” Father Jerzy was basing his preaching on the social teaching of the Church. From what I have read, the film actually underplays the intimidation and threats from the government that Father Jerzy suffered in the last years of his life. As the film progresses, we see his awareness and preparedness for giving his life grow dramatically.
Uplifting
How can a story that ends in a brutal murder be uplifting? Despite my tears and the turbulence I felt at the end of the film, I have been uplifted and inspired since Saturday night. The beautiful strength of the film lies in its gradual revelation of Fr. Jerzy Popieluszko, tracing his spiritual journey of transformation from an ordinary, devoted priest with attitude, into a pastor who grows always more Christlike and, in the end, willingly lays down his life to defend the rights of the people he serves. Father Jerzy Popieluszko’s cause for canonization was introduced in 1997. October 19th, 2009, was the 25th anniversary of his martyrdom.
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