LONDON - 4 July 2007 - 969 words
Sinner
- thoughtful film examines priestly celibacy
Father Peter Malone
Sinner is a small-budget, independent American film. Its topic
is Catholic priesthood, specifically clerical celibacy. On this
theme, it comes out positively for celibacy and ministry, though
it illustrates the struggles and pitfalls.
The general public of 2007 may or may not be interested in priesthood.
However, especially in the United States since 2002, much of
the focus on priesthood, especially in the courts and in the media,
has been on child abuse cases. This is acknowledged during the
credit sequences of Sinner, with a voiceover collage concerning
mostly well-known cases: Oliver O'Grady, Boston, diocesan bankruptcies.
Apart from these two minutes and the police chief character in
the film who voices some of the public's apprehensions about their
children being altar servers and not becoming a statistic of abuse,
paedophilia and abuse themes are absent from Sinner.
The film is of interest to Catholic audiences, especially to clergy.
It might be seen as a case study as well as a Gospel allegory.
The screenplay was written by Steven Sills, who has a Catholic
background, and directed by Marc Bernardout, who is British and
Jewish, married to a Catholic.
Since the plot deals with a prostitute, Lil (Georgina Cates) who
travels around parishes in what appears to be New England, seeking
opportunities to compromise priests and blackmail them, it can
be noted that there are a few provocative scenes and language
which illustrate the character and the sometimes difficult situations
for priests. There are some dramatic moments when the audience
almost assumes that the priest will fall, only to find they have
misjudged in anticipation. This is especially true of the last
ten minutes of the film.
Perhaps it is more helpful to refer to the Gospel allegory first.
This gives the framework for the plot with its plausibilities
and some seeming implausibilities.
There are two priests in the parish of St Augustine (symbolic
name with the film,s subject of sexuality and sin). The pastor,
Fr Anthony Romano, played credibly by Nick Chinlund, is around
fifty, an ordinary parish priest that many clergy will be able
to identify with. However, the parish has become run down in
terms of attendance at Masses and a younger man has been sent
to assist and revive the parish, Fr Stephen (Michael E Rodgers).
He is what is sometimes called 'a muscular Christian' and we initially
see him jogging and, later, lifting weights. He is the earnest
younger man, sometimes the bane of experienced pastors, with his
rather rigid approach to life and morality, which he is not afraid
of expressing bluntly. (Steven Sills' plot synopsis in the Internet
Movie Database refers to him as a 'fundamentalist' priest; he
is not exactly 'fundamentalist' in the accepted sense, though
he may appear so to an American audience where the word is more
frequently used than elsewhere, in his unflinching dogmatic manner.
Sills interestingly refers to the prostitute as a modern day Mary
Magdalene which gives his interpretation of the very final scene
that he wrote.)
When Lil, the prostitute, sets her sights on St Augustine's, she
attends Mass and listens to Fr Stephen's reading of John 8, the
story of the woman taken in adultery and the reactions of the
religious leaders and of Jesus himself. She turns her attention
to Fr Stephen since she has met the pastor and realises he is
not an easy mark. Fr Stephen physically attacks her ("to
defend my celibacy") and is arrested.
The rest of the film, which takes place over the next 24 hours,
illustrates the hard-hearted attitude of the younger, righteous
man who is aggressive, calls the police, upbraids his pastor and
condemns him in rash judgments and wants to get rid of the prostitute.
He represents those who assume that they should cast the first
stone. The pastor, on the other hand, is compassionate, down-to-earth
in his experience (we are given brief glimpses of his pastoral
work), shrewd but willing to take risks, who, when he gives his
car to Lil, explains to her the origins of the word, 'redemption'
the buying back of someone.
Lil, over the brief time and her dealings with Fr Romano, trying
to seduce, also trying to humiliate him, is eventually able to
make some equivalents of confession, about her childhood, her
profession and an abortion. Clearly, Fr Romano is doing what he
thinks Jesus would have done.
To further comment on the plot would include what the bloggers
call **spoilers** for those who have not seen the film. Suffice
to say that there are many more strands in the character of the
pastor, including some skeletons in his closet which have enabled
him to commit himself to his celibacy. There is an unusual golf
caddie companion (Brad Dourif) who brings some fantasy and overtones
of angels and God to the character of the pastor. There is also
the sub-plot with the police chief which is important at the end
to show that the pastor is doing what Jesus did in the Gospels.
The screenplay suggests that there might be more immediate redemption
and awareness of redemption in the prostitute than in the zealous
young priest.
The film has echoes of the British film, Priest, although the
theme is quite different. It is also a reminder that there are
a number of films which show priests and human weakness and repentance
(thinking of Spencer Tracy in The Devil at 4 O'Clock or, especially
of Robert de Niro's monsignor in True Confessions). In more recent
times, there have been some films with positive portraits of priest
as dedicated human beings, from the priest in Ken Loach,s Raining
Stones to Edward Norton,s curate in Keeping the Faith.
Clergy might be interested in seeing Sinner as a starting point
for discussions about contemporary priestly life.
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News 2007
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