The gamecock. (Columbia, S.C.) 1908-2006, October 27, 1982, Page 13, Image 13
'Monsignor' Continued fro
and loss. The only real humor the film offers
is in watching holy men in lavish, goldtrimmed
robes walking through huge,
palatial chambers talking like ruthless
lr?oi>f)wapo marnhonfa
UOft UTTUK V AUVft V1UI11UJ.
To solve the Vatican's wartime financial
difficulties, Flaherty devises an illegal
scheme involving black market bargaining
and Mafia collaboration. This unlawful (not
to mention immoral) wheeling and dealing
becomes an obsession with him, just as it
does with the lawyer in "Force of Evil."
Flaherty veers so far from his clerical path
that he even dons an army uniform to
seduce a nunnery candidate (Genevieve
Ju?MJV?V>/
THOUGH HIS fishy financial wizardry
helps him climb the Vatican political ladder
(he becomes a monsignor, then a cardinal),
Flaherty does suffer from brief surges of
guilt.
But after an ambiguous pep talk from his
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cardinal superior, Flaherty bounces back,
as bureaucratic as ever. This continues until
an enemy faction within the Vatican exposes
Flaherty's misdeeds to the Pope ?
who, ironically, looks astonishingly like
Polonsky. (Perhaps it is a snide joke: the
old exile himself sitting in the judgment
seat.)
Stylistically, the film's action is played in
a slow, grave manner. Reeve is quite
subdued here, speaking his lines with a
curious smirk, blue eyes unexplainably
sparkling. The actors' interplay is
predictable and bland. The dialogue is banal
and obvious. Perry's camera direction is
deliberate, functional, handsome ? and
dull.
These comments are ostensibly derisive,
but perhaps they point in another direction:
the story and style of "Monsignor," considering
the contribution of Polonsky, could
CI 1 etc* oof o laifAl ? ?1 1 "
Uubbvot ? icyci wi incaiinig apart irom tne
simple dramatic outline. Taken in an
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Christopher Reeve plays a World War II
chaplain who eerns a position in the
Vatican hierarchy.
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allegorical context, "Monsignor," like
"Force of Evil," might be seen as a symbolic
revelation of moral weakness.
I DON'T think possible allegorical im- v,
plications can save this film, however.
Whereas "Force of Evil" had great surface
appeal ? intense acting, interesting players
and quick pace ? "Monsignor" has little to
offer in excitement, unless one enjoys
looking at Reeve's face or the Vatican in
lerior.
Perry seems to have allowed something
(Polonsky's script? conception? style?
personality? mood?) to curb his usual
imaginative curiosity.
Still, who?s to say? "Monsignor" may
emerge as another offbeat masterpiece. But
T doilht it Pprhnnc thp film ic ri/?Kor than ifo
? ? w V..V/ Ituia M.KJ ftiVUV?JL U1QI1 A tO
surface suggests. But I'm not willing to sit
through it again to decide.
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