Mass Appeal

Given all the revelations of sex abuse in the Catholic Church, Mass Appeal in its own way is as dated as Going My Way in its picture of the Catholic Church and its inner workings. Still the relationship of Jack Lemmon and Zeljko Ivanek isn't exactly Bing Crosby and Barry Fitzgerald.

Playwright Bill C. Davis was hired to expand for the screen his two person play which 212 performances on Broadway in the 1981-82 season. It would hardly do to fill 100+ minutes of screen time with two priests just talking. Still the main focus is on popular parish priest Jack Lemmon and Zeljko Ivanek who is quite the oddball rebel at the seminary.

The monsignor in charge of the seminary Charles Durning wants Lemmon to take this kid in hand and explain the facts of life to him otherwise his ambition to be a priest will never be fulfilled. But as these two go back and forth one starts to wonder who is changing who.

On stage it worked to have the forces of repression as Ivanek sees them just be in the abstract. But for the screen Durning's role is critical in that the audience has to have the forces of oppression be personalized. Otherwise it would not have worked.

What the issues are I won't reveal, but as I said the sex abuse scandals have really dated Mass Appeal. Still it's a fine film with great performances from Lemmon, Ivanek, and Durning.

The Catholic Church is as much, if not more, political than it is spiritual. As a young Catholic boy considering the priesthood yet conflicted between my own feelings and myself and that which the Church demanded, in the end I decided to go to high school instead of entering the Seminary.

I saw this movie as a young lay man. There was such a resonance for me as a Catholic and as a young man struggling with the Church, sexuality, and spirituality.

The pastor (Lemmon) was very much the pastor of a parish that was part of my experience. As much as he was devoted to his calling, he was also responsible for the political games that are played in everyone's life. The young seminarian (Ivenek) was honest, open and young with new ideas; everything the Church wanted to suppress.

The pastor wanted nothing more than to continue his comfortable position in his parish. He was assigned a new priest-to-be who had shown himself to be a bit of a radical at the seminary. It's not to be ignored the "office politics" that were in place in the assignment.

The elder was being punished and tested, so to speak, with the assignment of this younger priest. He did his best to impose his wisdom on the younger; but the younger sought spirituality more than acceptance of the status quo. In other words, he ruffled parishioners' feathers.

When complaints were lodged about this young radical priest, his sexuality came into question. What those "powers that be" were concerned about was this young priest's sermons and indictments of false spirituality dressed up as devotion. After all, if the Church had ever really been concerned with sexuality, there'd not have been a molestation of any alter boy.

This film shows how the Church picks and chooses who to persecute. Persecution of the parish priest for not playing the political games, persecution of the young seminarian who desires to spread the Word of God.

It also indicts us as parishioners. Do we go to church to be told what we want to hear or are we there to hear God's truth? Should our contributions to the collection plate influence what we hear; or should the Word of God actually mean something? This is a memorable movie in that it makes us think about what brings us to Church.

I consider this film to be a real little gem -- unlike the original Broadway production. Its premises ring true and the ensemble acting is superb. Lemmon and Ivanek are extremely well matched as lost or submerged parts of the other in this cautionary tale about mainstream religion straining at the limits of its ability to accommodate and hold accountable truths found in the "wider" world. Lemmon's performance, especially, is artless and memorable, avoiding sentimentality and undue predictability. It is most unfortunate that in the days after Lemmon's death that no reviewer of his oeurve decided to cite this film or show clips from it in describing the actor's versatility and "every-manness." It should not be missed; so compelling is the uneasy and finally transformative relationship between the two men that one is left wondering what happens to both priest and seminarian in the years that follow. Rent this of a Sunday afternoon when you're longing to experience some rising spirit.

Last night we showed `Mass Appeal' at our parish's monthly Movie Night - REEL Conversations. There was a mixed reaction from the viewers and some lively discussion afterwards.

Some questioned why Hollywood has trouble portraying Catholics (priests, monsignors, laity) in a positive light. We had difficulty coming up with a movie that showed a believer acting like a true believer. In this film, for example, in times of crisis or need, the characters don't turn to prayer for God's help. Seemed odd.

We very much enjoyed the dialog between the mentor priest and young seminarian. It was interesting to see the roles of the two alternate throughout the movie. Plenty of still-pertinent topics they covered (authority of the church, power, homosexuality, celibacy, sin, being lukewarm in one's faith) with some very interesting outcomes.

All in all, an enjoyable film with moments of great humor and warm sentiment. A fine choice for a group discussion. One that challenges your faith and is encouraging to those who believe.

Pity the poor congregation of St. Francis Parish, subject to "dialogue sermons" (what???), autobiographical psycho-babble and in the end, self-righteous calls to rise up against the local Church hierarchy. If things are really like this in the Catholic Church today, its enough to make this lapsed Catholic stay that way for a long time. That said, and hoping that this does not mirror reality, the movie works as entertainment, largely due to the performances of the two main characters. Jack Lemmon is delightful and convincing as a lonely priest who has found strategies (some decent ones, some hurtful) to survive who takes on the task of mentoring and tempering the well-meaning but naive passions of a young seminarian, also well played. The big casualty is in the one-dimensionality of the "heavy" played by Charles Durning, and perhaps of all of his cronies as well. Well, Catholic bashing is nothing new, mostly by ex-Catholics, but it always diminishes the dialogue such issues could provoke. However, there is more to the movie than this, especially in some very good characterizations of Catholic lay people, Louise Latham's housekeeper in particular.