User reviews

Sidney Poitier won the best actor Oscar for this film and he deserved it playing a traveling handyman who is drafted by a flock of German nuns to build a church out in the deserted Southwest. He is a cynical man with a great singing voice and it is put is put to good use several times. This is a change of pace for me as I usually watch violent fare of the Tarantino style. We all need a pleasant change of pace once and a while.

Homer Smith (Sidney Poitier) is a stubborn , obstinate ex-soldier when heading himself to the West he stops at a farm in desert . There meets a group of speaking-German nuns from East European Catholic . They are ruled by a stiff Superior Mother called Mary (Lilia Skala) and she thinks Smith has been sent by Christ for the building their church . They'll develop a likable friendship , helping the unfortunate nuns and creating a particular divine mission until the touching ending .

It's a fascinating , quiet film , perfectly acted and concerning the narration about the construction a church of riveting manner . Gentle , sympathetic Poitier and the strict Superior nun confront wills each other , but finally learn the meaning of the power of God and ultimately come to respect themselves . The storyline by James Poe relies heavily on the continued relationship among them but it isn't tiring ; being entertained and with numerous diverting moments and agreeable feeling . Enjoyable comedy and laughters are continuous ; the chuckles are based on diverse characters and differences among protagonists , he's Protestant , nuns are Catholics . Biggest of the film are the musical duets between Poitier and the nuns . The movie is well set with nice rural scenarios and is't eventually hampered by racist stereotypes on the black men , neither Mexican people . The story is narrated with sensitivity and intelligence and are treated religious and ethic issues with great sense of fairness and ductility . Ideal cast completed with magnificent actors . Sidney Poitier won a well deserved Oscar . He was the second African-American to win an Academy Award , before won Hattie McDaniel and later will achieve it famous actors as Cuba Gooding , Denzel Washington and Halle Berry . Glamorous and sensational cinematography by Ernest Haller . Moving and phenomenal score by the great Jerry Goldsmith and beautiful blues-songs by Poitier . The motion picture was driven with enormous fair play by director Ralph Nelson (Blue soldier) who followed this with a television movie . This is a wholesome and politically correct family fare . Indispensable seeing for Poitier fans.

It took me over over 40 years before finally seeing this film, and I'm glad I finally did. It's simply a nice story: nothing super, but a feel-good film to use the cliché. This reminded of the kind of movie you would more likely see in the 1940s with the emphasis on human interest with a "religious" theme to it. I expected Father Flanagan to show up any minute.

Instead, we got a good Baptist man played by Sidney Poitier, who won an Oscar for this performance. Since he's just about the whole movie, and does a great job start-to-finish, who can argue with his award? This certainly doesn't have the feel of a 1960s film. It must have been one of the last of its kind, giving credence to Christianity and having a nice tone throughout. There have been very few like this since then.

Poitier is really the only "name" member of this cast and he's in every scene. If you enjoy his acting, and a good performance in general with a story that will bring some smiles to your face for an hour-and-a-half, this is recommended.

If someone were to ask me for the 'perfect' movie, this is the one I would choose. Not 'greatest', not 'best', but something better... an utterly flawless film. It's lean and spare, set in the desert and filmed in B&W. Both the humor and the drama are low-key, but are all the more moving for that, presented without clutter. It uses a small cast to create a rich diversity of characters from different religions, races, and cultures. But these differences aren't what creates the drama, they are simply a wonderful part of the background texture. The conflict lies purely in the clash of personalities between two good people, Homer Smith (Sidney Poitier) and Mother Maria (Lilia Skala), both with their own personal flaws and virtues.

I really can't begin to describe how much I like "Lilies of the Field". It could have been one of those awful preachy 'message' films, but it isn't. It is purely fine story telling. Which isn't to say you can't find meaning in it. Far from it. For me, I've always been taken by how the common human goodness of all the characters is brought out without being dependent on, or sacrificing, their many differences of religion or culture. They remain the same people at the end of the movie as at the beginning, except they're all a bit better, a bit less flawed. And that's pretty close to perfection.

Of all the fine work done by Sidney Poitier during his heyday, this film stands out as the most accessible, the most likable and the most heartwarming. Poitier's portrayal of itinerant builder Homer Smith rings true throughout, a man living life on his own terms...yet still a humane and involved individual.

This film has everything that brings good humor to a movie. The classic "fish out of water" premise, amicable cross-cultural confusion, joyous music...but it is much, much more than a mere comedy; much more than a simple drama.

This film was made in the thick of the civil rights movement. A black man in close juxtaposition to a group of white nuns was an eyebrow raiser in the 60's, as was the overall multicultural setting. White, black, Mexican, Anglo, German, Hispanic - all are tossed together with such a deft hand that the occasional nod to the prevailing racist attitudes of the time is almost brushed aside as the film skillfully makes its point. The emphasis here is on people doing as people should do...working and living together, helping one another and learning and growing from the experience.

Perhaps this is the time for any of us who has seen this film to see it again, and ask ourselves how the lessons of "Lilies of the Field" can be applied to the recovery from the devastation of Hurricane Katrina, and the relief of all the human misery that has resulted.

This charming, black and white film testifies to the power of faith. Five nuns who escaped over the Wall from East Germany are trying to start a new life in rural Arizona. Mother Superior (played by Lilia Skala) believes that Homer Smith (played by Sidney Poitier) has been sent by God to build a chapel. Smith demurs. He is a Baptist who isn't really religious. He would rather eat a big breakfast at Juan's (played by Stanley Adams) cafe than go to church behind the makeshift altar on Father Murphy's (played by Dan Frazer) pickup truck. The father describes religion graphically for Smith. "Welcome to the Poor Man's Vatican", he says as he ushers Smith into his small trailer home. "You take confession, provide absolution, bless the babies, hook up the trailer, kick the tires and pray. . .pray that the old car holds together to the next stop".

Faith permeates this film and it is catching. Mother Superior shows her faith in Smith as she introduces him to Mr. Ashton, a big local contractor. Ashton was played by Director Ralph Nelson and is one of the more engaging characters in the film. Interestingly, it is Ashton's skepticism about Smith's ability to the job that persuades Smith to stay. Mother Superior's faith ultimately is transmitted to the local Hispanic community and even Mr. Ashton. Cafe owner Juan puts the issue very much in perspective when he says that his work on the chapel is about "insurance". He doesn't really believe in God, he says, but just in case there is a hereafter he wants to be prepared.

The characterizations in this film are wonderful and deep. There is a strain of stubbornness in both Mother Superior and Homer Smith. It is a miracle they are able to work together. Indeed, Smith leaves the unfinished chapel behind for several weeks at one point. "Why don't you say thank you to me", he asks the Mother Superior. "You couldn't help yourself", she says.

Homer Smith isn't quite sure of himself. He is very uncomfortable in the role that Mother Superior sees for him. Later, when he returns to work on the chapel he stubbornly refuses the help of the locals. He sees himself as the one chosen to build the chapel. Mother Superior chides him as does Juan. "Where would you like us to bury you?", he asks. Ultimately, the locals take over the project with disastrous results. Homer steps in and directs the work to its completion.

Homer's disappearance in the middle of the film is a mystery. He has a problem with being the chosen one and drives away in his station wagon. When he returns the door on the passenger side is now wired shut. He is also dressed in an obviously loud Hawaiian shirt. His unusual dress is topped off by dark glasses. It is like he has returned from a two-week drunk. When he goes to have his big breakfast in the cafe, he wants very little to eat.

Juan is one of my favorite characters in this film. I liked Juan's homespun philosophy. The scene in which Homer eats the big breakfast at the beginning of the film is very good. The two characters are very much alike. Both came from religious families, but neither are religious. Ultimately, they are both empowered by faith.

Like Juan, Mr. Ashton is also a businessman. He too is enriched by the building of the chapel. He delivers a load of bricks for the chapel. When the Mother Superior calls out to him, he remarks that he should have sent them anonymously. On the way out he complains to Homer Smith that she won't let him alone now. Such is the price of faith.

Although it doesn't really go anywhere, this film has the look and feel of a road movie. The film begins with Homer Smith's car on a lonely road. Also, there are the images of the nuns trekking down the miles of empty gravel road to Sunday morning services. Father Murphy uses the road to go from one "country club" to another on his circuit. The blessing of the chapel is that it will be a focal point for the community. Father Murphy's church won't be on the road any longer. But Homer Smith must go. Mr. Ashton offers him a good job as a foreman, but he declines. He is a modern day tumbleweed going where the wind blows or, more accurately, where the road goes.

There is a racial edge to this film. Smith is black, and the nuns are white. Juan and the members of the community are Hispanic. Father Murphy is white. Ultimately, all of these people come together to build the chapel. One point in the film where race becomes overt is when Homer Smith meets Mr. Ashton. "Hey boy", he says to Smith. Smith quickly turns the tables on Ashton and calls him "boy". That seems to bridge the divide between them. In the end it is Ashton who offers Smith a position of foreman. In another scene Smith compares Mother Superior to Hitler. Later, Mother Superior returns the compliment. Ultimately, both are able to go beyond their stubbornness and work together.

This movie captures for me the special spirit of rural communities. I never grow tired of watching it.

Few are the films, past and especially present, that contain only pleasure and joy, or at least the seeds of them - even fairy tales have their villains. Heartwarming - absolutely, who wouldn't want to imagine themselves as Homer Smith with the generosity he affords the nuns, not just in building them their chapel but teaching them English and sharing a song or two.

While driving through Arizona, Homer Smith (Sidney Poitier) stops at a chapel run by a group of East German nuns. He intends to stay only briefly, but ends up building most of the chapel for them. Naturally, both sides are a bit unfamiliar with the other side: Homer has to explain to the nuns his life as a black man in America, and the nuns have to explain to Homer their mission in life.

As always, Sidney Poitier does a splendid job as a man forcing people to look into their own prejudices. In fact, his character is someone still looking for his path in life. Maybe some people might say that Poitier was essentially playing the same character that he always played, but we have to remember that this was a total break from the Stepin Fetchit mold that had dominated the image of black people for so long, so movies like "Lilies of the Field" were pretty important. Poitier's Oscar win for this movie was well-deserved.

Lillies of the Field was one of those Hollywood Cinderella stories that the film colony likes to tell about itself. A film shot in only two weeks with a big star working way below his usual salary and a bunch of no-name players in the rest of the cast and it winds up contending for Best Picture with blockbusters like Cleopatra, How the West Was Won, and Tom Jones. Lillies of the Field might have won a few more Oscars if it wasn't for Tom Jones in the race.

Sidney Poitier plays Homer Smith, ex-GI whose truck breaks down at a convent in the Arizona desert. It's populated with a small group of German speaking nuns to whose order was left this property. The group is headed by Lilia Skala who's not going to let the fact she doesn't speak English deter her from building up the place. Starting with a chapel.

It seems like the Almighty has answered her prayers when she finds out Poitier has a construction background. The sister is convinced God is on her side and even without the Deity, she's pretty formidable all by herself. The rest of the story is their effort to make it happen.

I guess the closest example to this film I can come up with is Marty, another story without any real stars in it, shot on a shoestring budget that got to be Best Picture and win for Ernest Borgnine an Oscar for Best Actor and stardom. Lillies of the Field was up for Best Picture, Best Supporting Actress for Lilla Skala and a few other categories. But it came home with one winner, Best Actor for Sidney Poitier the first black person to win in that category.

I don't think it would detract one bit from Poitier's achievement to say that the Civil Rights Revolution at its crest in 1964 might have just put Poitier over the top. His competition that year was Rex Harrison for Cleopatra, Paul Newman for Hud, Richard Harris for This Sporting Life and Albert Finney for Tom Jones. Tom Jones won a host of Oscars that year including Best Picture, but in 1964 in the wake of the Kennedy assassination and the news of the atrocities done to civil rights workers and the mounting pressure to pass the Civil Rights Act, Hollywood was casting its own voice of support in naming Sidney Poitier as Best Actor. As you can see Sidney Poitier faced some stiff competition in the category, I certainly wouldn't want to say he was better than Albert Finney or Paul Newman who got rave reviews for their performances.

Sidney Poitier was something special in Lillies of the Field. As his character Homer Smith says he's a camp meeting Baptist from the south. And the highlight of the film is him teaching the nuns to sing that Baptist camp meeting song, Amen. That was about brother and sisterhood and peoples of all kinds working together and respecting each other in their differences.

And for that reason, because that message is so vital today, the Academy voters gave Sidney Poitier a well deserved Oscar for delivering that message in an under-financed, but very beautiful film.

Well acted, well directed and fun movie with excellent portrayals by Sidney Poitier and Lilah Skala.

Homer Smith (Sidney Poitier) stops at a convent in the Arizona desert to get some water for his car on his way to the west coast and find some work. Mother Maria (Lilia Skala) leads four other Germanic Catholic nuns. They think he's been sent by God. With low funds, he decides to work a day for money. She sends him up to fix the roof. He does two days' work but when he tries to get paid, Mother Maria quotes the Bible, "Consider the lilies of the field, how they grow; they toil not, neither do they spin. And yet I say unto you that even Solomon in all his glory was not arrayed like one of these." The nuns have no money and Homer is convinced to do more work. Eventually, he builds a chapel for the nuns and their poor Mexican migrant worshipers.

This is what faith-based movies should aim for. It is compelling. It is funny. Homer and Mother Maria are a funny comedy duo. At its core, this is powerful message of faith and goodness. Poitier wins the Oscar, the first competitive award for an African-American.

There is this odd feeling of giving only 5 points, but age doesn't protect a movie from a fair rating. Every movie has to face the competition, and there is no rebate for older participants. The story begins interesting with Poitier and the nuns, but it fails to invent some new jokes or more aspects. A black guy is building some nuns a church. It is enough for the first steps or the general direction. Delicious food doesn't become better if you are chewing one piece for 90 minutes. The same rule can be applied here. To skip some 30 minutes in the middle of it, has no negative consequences. You will not loose any clues. No tension,no action,no colour,no jokes only a story that becomes more boring with every minute and a comical situation that looses it's stance after ten minutes.

The film that until 2001 sported the only African-American Best Actor or Actress Oscar winner. Sidney Poitier (in an excellent Oscar-winning performance) stars as an unemployed handyman whose car breaks down in New Mexico. He is greeted by a group of German nuns led by Lilia Skala (Oscar-nominated). The nuns are in desperate need of a church and it just seems that Poitier is not going to be able to shake Skala and the various duties she imposes on him. A really great film that works due to Poitier more than anything else. He carried what could have been a disappointing production into cinematic history. Arguably the best film of 1963, "Lilies of the Field" continues to be a funny, dramatic and heart-warming film nearly 40 years after its initial release. 4.5 out of 5 stars.

A very intriguing movie, and different sort of "religious" film. Sidney Poitier delivers a stunning performance as itinerant carpenter Homer Smith, wandering through Arizona when he happens upon a piece of land farmed by a group of nuns, who convince him to stay awhile and build them a chapel.

One of the most interesting things about this film is the way both Baptist and Catholic religious views are inherent in the plot. The film manages to combine both views without leaning too much in either direction, and still respect both beliefs. You can't help but smile when Poitier teaches the no-nonsense nuns a good old "come on down to the meeting" type worship song, which is, of course, "Amen". And it's a very good song, full of Gospel truth.

With this film, Poitier became the first African-American man to win an Award for Best Actor. The first African-American person to win an Oscar was Hattie McDaniel, who won Best Supporting Actress as Mammy in "Gone with the Wind" (1939).

It's a beautiful, charming, down-to-earth movie, with an ending that is hauntingly provocative. It's a film you don't want to miss.

This is an old fashioned movie filled with the positivity that never goes out of style. The song singing scene is one of the most enjoyable things I've seen in ages. Sometimes it's nice to throw off the bad news of the day and watch something less world weary. This is just that kind of respite.

I won't gush. I saw this in theaters as a kid. It's a simple story, low budget but excellent black and white cinematography. It's got a few implausible plot moments, but they're easy to overlook (like why do nuns surrounded by mexican-ams in AZ who they minister to, not speak even basic Spanish). If it came out today, it would definitely be Hallmarky. It's got boatloads of heart without tons of words. It's got a barebones plot. It's got straightforward, though fetching, desert locations.

It's not quite a bible story, but it's got no shortage of christian values contained therein. Namely, the sin of Pride. The virtue of Belief, the power of Prayer. Sure, it's utterly unrealistic that 1960 Arizona would be so unquestioningly accepting of an itinerant lone young black man, but many of the most endearing stories are fantasies, aren't they?

All that said, if someone wrote that story today, I wonder if the movie could or would have been made. It would come off as corny, I fear.

An out of work contractor (Sidney Poitier) happens upon an ODD group of nuns. After all, they are five East German nuns in the middle of the Arizona desert! While the nuns have no money and you have no idea why he stays, this Baptist man stays and helps them complete their chapel.

"Lilies of the Field" is a nice film filled with nice people doing nice things. It can't help but be a movie that people would enjoy, as it has a nice message and nice acting. However, I can't quite see why Sidney Poitier won the Oscar for Best Actor, as the film really didn't seem to take any risks and certainly won't offend. His performance was good but I think he certainly did a lot better, such as in "In the Heat of the Night" or "Edge of the City" or "Pressure Point"--all films which had a much riskier message and required more skill on Poitier's part. Mind you, I liked "Lilies of the Field"--I just didn't feel it was a particularly noteworthy film--though it is a nice family picture.

There are so many other excellent reviews here describing the plot outlines and and I won't waste anyone's time repeating those reviews. I found this film immensely warm, and believable. And the overall message is as beautiful as one could ask for.

My incentive to post this review was reading that of another member of IMDB. That review explained that he "...can't quite see see why Sidney Poitier won the Oscar for Best Actor..", and decried that the film "didn't seem to take any risks and certainly wouldn't offend."

Everyone is entitled to their own opinion and I'm certainly guilty of that. My objection to this perspective is that it does not consider the mindset of the viewers when it was made. The review was written from a perspective of 2012 and didn't take into account the time period when the film was made.

1963 was a very turbulent year in the civil rights movement in this country. The unleashing of dogs and hoses on protesters in Birmingham, Alabama. The magnificent march on Washington, and it's stirring "I have a dream" speech by Dr. King and a movie plot which had a black man working for a group of white refugee German nuns would have taken any number of risks. Add into this the still unresolved anti-Catholic perspective of many people and in my view this film takes any number of huge risks.

Wondering who else was nominated for best actor in 1964, I looked them up. Rex Harrison for "Cleopatra", Richard Harris for "This Sporting Life", Paul Newman for "Hud", and Albert Finney for "Tom Jones." I have to ask - which of those performances, all of which are well done, took more risks, and was performed with more feeling and sensitivity than that of Sidney Poitier?

I think his Oscar is well deserved, and his performance in this film easily trumped that of the other nominees that year.

This is a very pleasant movie. It's not a masterpiece. There have been better movies; there have been funnier comedies; there have been more dramatic dramas; there have been deeper explorations of spiritual issues. But this is a very pleasant movie to watch - and even fun at times.

This is Sidney Poitier's movie. He plays Homer Smith - a mysterious drifter whose past we never do learn very much about who appears at a farm needing water for the radiator in his car. The farm turns out to be occupied by a group of nuns who've recently come to the United States from Germany and who basically draft Homer to build them a chapel. The movie basically portrays the growing relationship between the nuns and Homer. Homer resents the work he's being asked to do but somehow is unable to pull away. The nuns see Homer as an answer to their prayers for someone who could help them in this task. It's good fun watching Homer teach the nuns how to speak English and how to sing some of the gospel songs he learned in his Baptist upbringing.

As I said, this is Poitier's movie and he was superb in it. The supporting cast was fine, but not high profile. The only one I recognized was Stanley Adams from a Star Trek episode a few years later. This might be a little bit over-rated, but still it doesn't disappoint. Again - it's a very pleasant movie to watch. (6/10)

Although it's easy to dismiss the savior role he's playing in this sentimental and surprisingly comic fable, this is a good reminder of just how good Sidney Poitier was at the height of his career in 1963. Although it's not one of his favorite performances, it's one of mine, and he won the Oscar for this, the first for a leading black actor. You can still see why as it retains its feel-good aura.

After losing the Academy Award for The Defiant Ones and not even being nominated for A Raisin in the Sun, Sidney Poitier finally took home the gold for Lilies of the Field. When you watch the film, it seems absurd that such a fine actor would win for such a silly performance. And as historic as his win was, it bears consideration why the Academy chose this particular film in which to award their first Best Actor award to a black actor. In the film, he plays a handyman who helps a group of nuns build a chapel. There's no love interest, no scene in which he proves himself amidst rampant racism, and no intense emoting that would even warrant a nomination. He's bossed around by a bunch of old, white biddies, serves God even when he initially doesn't want to, is valued for his back-breaking work rather than his intellect, and spends his free evenings singing "Amen" with the sisters. Does it really sound like the Academy made a racial breakthrough? Some might think the Academy knew it would have to cross the barrier sooner or later and chose to honor a role that would remind other black actors to "keep their place". Hattie McDaniel's win for Gone with the Wind placed her in the history books as a "sassy Mammy"; the Academy could have broken the barrier five years earlier and given an Oscar to Louise Beavers in Imitation of Life, but that was a meaty, emotional role. An African-American woman didn't win another Oscar until 1991, when Whoopi Goldberg was ignored for her serious role in The Color Purple and rewarded for her kooky role in Ghost.

If you thought my soap-box rant was a little too paranoid and you like watching Sidney Poitier movies, by all means rent Lilies of the Field. If the above paragraph intrigued you, watch the preview instead. You'll get the gist and you'll save yourself ninety minutes.