Monsignor

As Christopher Reeve said himself, this movie could have been really good but the bad editing ruined it. And I wholeheartedly agree. It was a pretty bold movie, even for the bold 80's: a tale of a Vatican priest who deals with the mafia, seduces a nun and takes up arms in the war, bloodying his hands. This was clearly still a taboo, any kind of negative portrayal of the Catholic church and the Vatican. But somewhere during its 2 hours this movie lost its boldness and became just another failed experiment with an interesting idea.

In the year 1982, Reeve was clearly looking to establish himself as a serious actor and it couldn't have been easy for a guy who so convincingly looks like a superhero and who came to prominence as THE superhero. He was in Deathtrap that same year and did well in that part. One might say that this role has something in common with that one, because he plays an opportunist who is morally unclean. This movie has a really top notch cast, with Jason Miller, Fernando Rey and Genevieve Bujold as the brightest part of it. Miller, though somewhat miscast in the role of the Sicilian mafioso, brings the dark intensity similar to the one in his role as Father Karass. Only difference is, here he has a mustache. Joe Cortese is also good in the part of Reeve's old friend who becomes his business partner and the link with Miller. Fernando Rey plays the part of cardinal Santoni, who represents the political side of Vatican, the ambitious and power-hungry priest who is willing to close an eye to illegal stuff in order to achieve his own goals.

Anyway, this movie is interesting to follow but sometimes it can't decide whether it wants to be a drama about corruption and moral or a love movie. Some scenes are well shot and gripping, like the scene where the nun played by Bujold discovers Reeve's true identity and occupation. It is the dramatic highpoint of the film. But the love story lasts too short to really give the movie the edge it needs, another angle. Christopher Reeve is one of the film's bright points because he really does make his character believable. He's a priest who tried to be both a priest and a man. I guess you can say that this is the ultimate theme of the film, how hard it is to be a priest and give up the good things in life in order to serve God.

I think it's a great shame that this film has been largely forgotten and scorned by the critics and by the audiences. For despite it's editorial flaws and despite the screenplay not holding up till the very end, it still can be an interesting watch and a spiritual lesson.

The tag-line for this film begins "Forgive me, Father, for I have sinned".

And that's not so much being said by the protagonist of "Monsignor" but by the director, actors, writers, best boys, gaffers, caterers and the guys who swept the floor afterwards on this disaster.

As the "Monsignor" of the title, Christopher Reeve plays a man who moves his way up through the Catholic church through dubious means - murder, theft, the Black Market during WWII... you know, the usual stuff. And there's even enough time for him to seduce a nun (Bujold)!

I know next to nothing about Catholicism, so I cannot say what if any of this kind of activity holds any validity. But what does this mean: that those involved in the Vatican's business affairs are only bookkeepers who work under the guise of religion for otherwise nefarious means? I'd hope not, but this movie seems to think otherwise.

Reeve is a good actor, always will be. What he saw in this kind of film is beyond me. Maybe he thought (like Faye Dunaway did in "Mommie Dearest") that something so broad and unimaginably coarse could only be played as a comedy, so why not just go with the flow?

And if he thought that, he was right! "Monsignor" has scenes that play as out-and-out comedy; never have you seen so many (unintentional?) sight gags in your life, and the stony faces that permeate this film might make you believe that Buster Keaton must have been a busy man at one time or another.

So, "Monsignor" is a bad film, but it's also good for one of those nights when you have a few friends over, a few beers, lots of popcorn and nothing better to do than have a few laughs at someone else's expense.

Those involved in organized religion, say.

Two stars. Eight if you're an agnostic.

If you love bad movies this rates a 10. A sad Camp Triumph for the great, for a while, Frank Perry the director. Christopher Reeve stiffly makes no impression, as he did in most of his non superman roles. Some good European actors do what the can, for Genevieve Bujold all this amounts to is stripping naked. John Williams composes perhaps the most over the top piece of music in film history for the scene in the cathedral where sinner and saint meet. Also in the mix are some mob killing scenes leftover from a Godfather movie, actually these are the best done scenes in the film, the only ones that work. The rest is either over or under acted and done in a way that tries to be serious in a way that makes it totally campy. A better approach would have been to just go for the sleaze and make this one of those sort of exploitation sex-in-the-confession-booth films, that's really all this is at heart. In case you are a snob and think that only low budget films can suck, look at this beauty and realize that with money you can suck really really hard, and I mean that in a bad way. Everyone involved in this should or could rate this as a career low. Reeve claimed there was a great film and they lost it in the editing room. Well, no it's still here to be enjoyed. One of the worst Hollywood films ever, but if you take in in the bad film frame of mind there are many highlights.

This movie is a smart, absorbing and different take on the Vatican, exposing the high stakes politicking and personal vanities that impact the actions of the Church. There are no saints in this movie, only real people played with empathy and unusual perspective. A very young Christopher Reeves takes on a challenging role and pulls off the complexity and credibility the movie calls for. The supporting cast is excellent, a joy to watch. The movie keeps you guessing and praying. This is not a movie for dullards, if you appreciate an intelligent and compelling movie, try this one. It will surprise you, pleasantly. It tackles a subject matter that is very timely now with the various Church conspiracy books fad, such as "The Da Vinci Code." I am trying to find more information on the subject of the movie, presumably Archbishop Paul Marcinkus.

The review in the annual paperback guide to movies by critic Leonard Maltin and his cronies classify this as a "camp classic", and after reading the synopsis, I certainly wasn't prepared to take this hilarious, trashy melodrama seriously at all. It has a young, ambitious priest, John Flaherty (Christopher Reeve) hired as business manager for the Vatican, and it doesn't take too long for the guy to start doing some dubious things, such as entering into a shady deal with the Italian mob. The best bit of business has this guy carrying on a romance with a nun- in-training named Clara (Genevieve Bujold). That's got to be trash at its finest, especially when Ms. Bujold strips for the camera as Flaherty and Clara prepare to go at it. Now, this movie admittedly is somewhat slowly paced and goes on for quite a bit, but this story (scripted by Abraham Polonsky and Wendell Mayes, based on a novel by Jack-Alain Leger) is still entertaining in its ridiculousness. Superb production design (by John DeCuir Jr.), cinematography (by Billy Williams), and location shooting help in the enjoyment - this is nothing if not a good looking film. And speaking of good looking, the lovely Bujold is definitely an easy performer to watch. The performances are all admirably sincere, with the ever likable Reeve well supported by a fine, fine group of actors: Fernando Rey, who has a warm presence, as Cardinal Santoni, Jason Miller as mob boss Don Vito Appolini, Joe Cortese as Flaherty's buddy Lodo Varese, Adolfo Celi as Cardinal Vinci, Tomas Milian as Father Francisco, Leonardo Cimino as none other than The Pope, Robert Prosky as Bishop Walkman, and Joe Pantoliano as wounded soldier Private Musso, with Joe Spinell in a great, brief cameo as the father of the bride in the wedding sequences. Give this cast credit, as they really sell this thing. It may be pretty long, but it's such an amusing story as to keep one watching (at least, this viewer kept watching). Recommended to fans of silly cinema. Seven out of 10.