Mea Maxima Culpa: Silence in the House of God

Never a film-maker to shy away from trying to make sense of a somewhat catastrophic event or subject matter, Academy Award winning documentary film-maker Alex Gibney tackles the subject of paedophilia in the Catholic church. From the bottom, where apparently celibate priests have free reign over their own church relatively unsupervised to take confessions inside a broom cupboard and prey on children while they sleep, to the very top, where cardinals cover-up or ignore the problem, and the Pope fails to acknowledge the many flaws in their beloved system. It's a film of two halves, each powerful and expertly crafted in their own right, but failing to come together into a cohesive narrative.

The first half is the most powerful and heart-breaking. Throughout the 1960's, priest Lawrence Murphy sexually molested in the region of 200 young boys. At the St. John School for the Deaf in Milwaukee, four men tell their own unique and frightening stories of the abuse they suffered and the lack of help available. Similar to many families in this period, their families could not sign and therefore could not understand their cries for help. Signing to the camera and narrated by actors Jamey Sheridan, Chris Cooper, Ethan Hawke and John Slattery, the four men's disabilities become a metaphor for the years of silence endured by other victims of no handicap, who over the course of time have heard their cries fall on closed ears, especially when it came to calling out for justice or at least an explanation from the Vatican itself.

When the film shifts into its second phase, it becomes more conspirational and less human, throwing us facts and archive imagery as Gibney looks under every rock he can find. What he uncovers is hardly surprising - a huge Vatican cover-up and the relocation of many priests finding themselves under scrutiny from the locals were covered in somewhat less detail in Amy Berg's unsettling Deliver Us From Evil (2006) - but he is searching for some kind of explanation. Hearing of abuse cases dating back hundreds of years among the priesthood, it seems the Vatican see the problem more as an inevitability. It often feels like Gibney is clutching at straws, trying to find a link to every corner of the corridors of power, and the absence of any spokesperson from the Vatican is an admittedly unsurprising disappointment. But it avoids the pitch-fork waving approach, and tells us of a very real problem for which we have few answers for.

After looking at the world of NHL pugilists in last year's outstanding The Last Gladiators, Mea Maxima Culpa: Silence In The House Of God finds director Alex Gibney returning to investigating abuses of power, a theme that has served him well in past efforts like Enron: The Smartest Guys In The Room and the Oscar-winning Taxi To The Dark Side. This disturbing exposé on the problem of child and youth sexual abuse in the Catholic Church focuses partly on the stories of five deaf men who are thought to be the first individuals to ever publicly protest abuses by clergy in the United States, after they were victimized by Father Lawrence Murphy at St. John's School for the Deaf in the suburbs of Milwaukee during the 60s and 70s. Gibney also takes a broader view of the subject by looking at other cases of clergy abuse (notably in Ireland) and the systematic cover-ups of these crimes by the Catholic Church's top officials, whose unofficial policy on the matter is to "deny, minimize, and blame", according to one journalist interviewed. "Mea Maxima Culpa's" Latin translation is "my most grievous fault".

Although the five St. John's victims have been working for over three decades to call attention to the issue and seek justice for their suffering, their story gained traction after New York Times writer Laurie Goodstein wrote an article in 2010 about the Vatican's failure to defrock Murphy, despite the fact that they were presented with undeniable evidence of his crimes and received strong warnings from some American church officials. Murphy is believed to have molested over 200 boys at the boarding school from the 50s until 1974, when he was transferred to another parish. The Vatican was alerted of Murphy's behaviour in 1963 and did nothing. Actors Jamey Sheridan, Chris Cooper, Ethan Hawke, and John Slattery give voice to the victims, who use sign language with punctuated hand slaps to express the horrors they endured at the hand of Murphy and the shame that followed. Murphy's textbook predatory behaviour found him singling out what he perceived as the weaker students and further exploiting the fact that they faced an obvious barrier in communicating over the phone with their families. Three of the victims, including Terry Kohut, who sued the Catholic Church and named the current Pope in his lawsuit, were on hand for the world premiere TIFF screening I attended and gave their emotional reaction to it afterwards at the Q & A through a sign language interpreter. Just knowing that they were in the audience and reliving their pain while seeing the finished film for the first time added an extra significance and weight to the proceedings.

The investigations resulting from the Kohut lawsuit ended up leading to the discovery of secret Vatican documents that detailed many instances of sexual abuse cover-ups that reach to the highest levels of the Catholic Church, with Popes John Paul II and Benedict XVI (then Cardinal Joseph Ratzinger) substantially implicated. In the years before being anointed Pope, Ratzinger oversaw a Vatican council that monitored sexual abuse cases in the Church, so his post-anointment claims of being unaware of most of what was occurring seem highly unlikely. How his and his predecessor's culpability and mishandling of these tragic cases hasn't been a much larger media story is difficult to understand.

That aside, overall media coverage of child and youth sexual abuse in the Catholic Church has, sadly, become an all-too-familiar story that one almost becomes numb to. Gibney rises to the challenge of presenting a fresh take on a much-discussed important subject with this well-researched and powerful film. My only real negative about it are the re-enactments that Gibney employs, even if they are artfully composed and beautifully shot, using plenty of religious imagery. Re-enactments are a staple of Gibney's work (not to mention Errol Morris'), but the stories he tells are usually compelling enough and, in my opinion, the end results are slightly diminished with this gimmicky device that feels like an imagination crutch for the audience.

This film does a fine job of documenting the groundbreaking, courageous and tenacious efforts of a group of deaf men to expose a pedophile priest who ran a school for deaf children and preyed on those children for many years.

The nature of the crimes and the pervasive lack of action by the catholic church to discipline the criminal priest and aid his victims is truly disgusting. Similar circumstances in Ireland are also reviewed where priests were well known to have abused children in their churches and yet they were never appropriately disciplined either by the church or turned over by the church to the civil authorities. It is extremely important that these heinous crimes and the institutional resistance in the church to deal with them are made known by films such as this one. The story of how these men who courageously pursued their search for justice prevailed despite tremendous church inaction and resistance is inspiring.

My only quibble with the film is when it uses contemporary dramatizations to give viewers a feeling for what it would have been like to have been a child in these environments. These are not so much dramatic re-enactments as brief glimpses very much at the periphery of the actual abuse. Still, I thought they were unnecessary as the testimony and documentary footage provided ample information and were more than enough to make my blood boil.

Do see this film and support it for the important work it does in exposing a very serious abuse of trust by an institution of tremendous power that still doggedly refuses to hold itself accountable for so many horrendous crimes.

Very well constructed documentary.

Its first half focuses in detail on a notorious, localised case - the second half reveals a global picture that provides unsettling perspective.

A vivid, compelling exposé that I only wished lasted longer than its already near-two-hour runtime.

Absolutely recommended.

I just saw this documentary today after hearing about it from my wife, who did not see the whole film. We watched it together. I have never been Catholic, while she had been for a short period while attending an all girls Catholic High School.

What struck me most about the film was the reason that was given for Father Murphy's exit from St John's, for health reasons. Just this morning, Pope Benedict announced he was stepping down for health reasons. It makes me wonder if the release of this documentary had something to do with his decision. If he lives even half as long as Father Murphy did, after he left St John's, it would, in my opinion, give lie to that.

This film needs to be seen by everyone in the world and let them make up their own minds. I do give a lot of credit to the Dubliners that have stopped attending Mass. The documentary stated that they were down to 4% of the Catholics still attending. Good for them!