Léon Morin, sacerdote

My thoughts about this film don't seem to follow any precise structural pattern. I will just note the things that struck me and leave it at that. This movie affected me as no other story set in an occupied country ever has. It has a dreamlike pace and texture.

Barny sees young Italian soldiers appearing in her town, their hats have plumes--are they with a circus?... She forms a passionate friendship with Sabine, her boss: there will be a scene in which Sabine's breasts are pressed against Barny's neck and shoulders... later we find that Sabine's brother has been deported to a concentration camp... Barny and two other women have their children (who are half-Jewish) baptised. They figure that the church will legitimize their kids in the eyes of the enemy... Barny and Léon start to debate the meaning of faith. Léon makes it clear to her that he is not available, but her yearnings know no bounds. Reading Papini as a substitute for sex... Barny is involved with the Resistance, will hide Jews if required to, but her emotional life must take precedence over these activities.

There is much more, but I will just say that Riva and Belmondo are superb. After seeing her in Hiroshima, mon amour--in which she played well, but not memorably so--I was startled with her accomplished acting here. Belmondo is tough and moving; Léon is no Don Camillo.

I saw it at different ages. and I perceived it as one of films who transforms , in profound sense, its viewer. in a special, precise manner. it is not simple to define the sense of this change. and, for not give a to subjective answer, you say only than Belmondo did the role of his life, fragile, delicate, dramatic, so simple, and Riva preserves the flavors of "Hiroshima , mon amour", using in inspired manner. it is a war film, a religious one and a love story. and something more who , after the final scene, is reflected by a state of soul. that could be all.

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.

For years now,the over all theme of religion in cinema has managed to touch more than it's share of raw nerves,both in the U.S.A.,as well as Europe (does anyone remember the brou-ha-ha that was raised over Jean Luc Goddard's 'Hail Mary',back in the mid 1980's,or 'The Last Temptation Of Christ',in 1988,or even 'The Life Of Brian'in 1979?). Long before all of that,there was a film that I'm sure raised some folk's eyebrows in 1961. That film was 'Leon Morin,Priest'. The story concerns a newly widowed young woman known as Barny,played by Emmanuel Riva,who is a self avowed atheist,who is seeking advice from a local priest,named Leon Morin,played by (then)France's matinée idol,Jean Paul Belmando ('Breathless',and way too many to mention here). The time is world war 2,and the small village Barny lives in is being invaded by Germans,Italians & later,American soldiers. What starts out as a series of conversations on spiritual matters,turns to unrequited love,which turns more serious as the story unfolds. Jean Pierre Melville (who was generally more known for his film noir crime epics, such as 'Le Cercle Rouge','Le Samourai','Army Of Shadows',etc.)directs & writes the story & screenplay,based on the novel by Beatrix Beck, in a film that tests one woman's temptation for the heart of another man. The rest of the cast (unknown by yours truly)turn in fine performances. The crisp,black & white cinematography by Henri Decae makes real good use of light & shadow (especially if the print quality is good to excellent),and the use of distance between the two characters,which eventually merge closer as the story goes on. Not exactly top shelf Melville,but none the less,still worth a look. Most European prints of this film originally ran 130 minutes,but unfortunately,the North American distributed print clocks in at 117 minutes (including the newly printed re-issue edition). Spoken mostly in French,with a wee bit of German,with English subtitles. Not rated by the MPAA,this film contains some minor adult content,and a rude word,or two.