THE CARDINAL

Father Fermoyle (Tom Tryon) faces the KKK

THE CARDINAL (1963). Produced and directed by Otto Preminger.

At his birth it was decided that Stephen Fermoyle (Tom Tryon of The Unholy Wife) would become a priest, and he never questioned it. Seen as being too ambitious by Bishop Glennon (John Huston), Fermoyle is sent to one of the poorest parishes in the nation, where he works with the dying Father Halley (Burgess Meredith). Not certain that he wants -- or ever wanted -- to be a priest, he takes a leave of absence and falls in love with the Austrian woman Annemarie (Romy Schneider) and vice versa, but his faith is reignited and he remains in the priesthood. As he advances at the Vatican due to the patronage of Cardinal Quarenghi (Raf Vallone), he jeopardizes his career by helping a black priest, Father Gillis (Ossie Davis), in Georgia and comes afoul of whip-wielding members of the Ku Klux Klan. Later he goes to Vienna to consult with Cardinal Innitzer (Joseph Meinrad), who has capitulated to the Nazis but is betrayed by them. He manages to escape an attack on Innitzer's quarters and with most of his family present is made a cardinal. 

Raf Vallone with Tom Tryon

Over three hours long, The Cardinal -- which spans WW1 up to the beginnings of WW2 and the rise of Hitler -- is never boring. I only watched the film because I was curious how actor-turned-novelist Tom Tryon would handle such a demanding lead role, and he comes through with flying colors. Unfortunately, The Cardinal was a financial flop, and that adversely affected his career. One of the film's greatest strengths is the performances of the entire cast, although John Huston, despite some solid moments, is as uneven in this as he was in The Other Side of the Wind. Carol Lynley makes her mark as Stephen's sister, who falls in love with a Jewish man, well-played by John Saxon. Broadway star Bill Hayes is also effective as Stephen's brother, Frank, as is Dorothy Gish as their mother. Others in the cast include Patrick O'Neal as a southern bigot, Murray Hamilton as one of the racist group who tries to help Stephen, Chill Wills as a bishop, and Bobby Morse (appearing with the Adora-Belles) as the main performer in a spirited nightclub act. 

Joseph Meinrad with Tryon

One problem with the film is that apparently some scenes had to be left on the cutting room floor, or perhaps were never filmed. The resolutions of storylines involving the sister and her fiance, as well as Annemarie in Nazi-controlled Vienna, are left dangling. Some scenes, such as a confrontation between Stephen and his sister's Jewish fiance after a tragic occurrence, cry out to be recorded but are never shown. On the other hand, there are some powerful moments, such as a chorus of Catholics in Vienna attracting the negative attention of the SS and Hitler Youth, forming a startling contrast, and the sequences when Nazis storm Cardinal Innitzer's quarters, which actually happened. Joseph Meinrad [Sissi: The Young Empress] is excellent as the cardinal, who was a real-life individual. 

Brothers: Tom Tryon with Bill Hayes

The Cardinal does something unusual in that it depicts the Nazi persecution of Catholics. Although ordinary members of the clergy (Protestants as well as Catholics) were sent to concentration camps or killed, higher-ranking clergy were generally left alone so as not to become martyrs. In any case, this doesn't compare to the persecution of Jews, whose ordinary citizenry were slaughtered in appalling numbers. Annemarie's husband has Jewish blood, and comes to a bad end, but otherwise The Cardinal doesn't really deal with antisemitism, another serious flaw of the film. Despite the fact that the film was partially bankrolled by the Vatican (the church's liaison later became Pope Benedict XVI), it is made clear that the church didn't really want to get involved in civil rights, let alone in the troubles of the Jews.  

Whatever its flaws, The Cardinal boasts a beautiful, expressive score by Jerome Moross [The Big Country] and superb cinematography courtesy of Leon Shamroy [The Robe] . 

Verdict: I am not remotely Catholic but I enjoyed this movie -- the religiosity never quite becomes overbearing, it is great to look at, and much more interesting than you might imagine, with a great cast. ***. 

SISSI: THE FATEFUL YEARS OF AN EMPRESS

Franz (Boehm) and Sissi (Schneider) at La scala 

SISSI: THE FATEFUL YEARS OF AN EMPRESS (aka Sissi - Schicksalsjahre einer Kaiserin/1957). Director: Ernest Marischka. 

The third and final installment in the Sissi trilogy continues the story of the beautiful young Austrian empress (Romy Schneider) and her husband, the Emperor Franz Josef (Karl Boehm). Sissi develops a serious lung infection  which has her doctor predicting that she will die unless she goes to a warmer climate, and that even then the outcome is not certain. The film turns into a type of travelogue as Sissi travels to other lands such as Portugal and Greece with her mother (Magda Schneider) and Major Bockl (Joseph Meinrad), whose romantic adventures with different women are briefly explored. The travelogue continues as the empress accompanies the emperor on a goodwill tour to Naples and Venice, where the Italian citizenry, still smarting over past unpleasantries and Austria's occupation, do their best to snub and ignore them. An interesting scene has everyone at the La scala opera house singing one of Verdi's patriotic choruses from Nabucco as the royal Austrians take their seat in their box. There are some attempts at drama when Sissi tries to make friends with one Hungarian, Count Batthyani (Peter Neusser)  who is not thrilled with Austria, and is told by handsome Hungarian Count Andrassy (Walter Meyer), whom she charmed in the last picture, that he is in love with her. Anton Profes' musical score is richly romantic and memorable, as is Bruno Mondi's photography, especially his exquisite shots of Venice. The opening credits feature a flock of birds actually spelling out the name "Sissi" before taking to flight -- marvelous. The leads and supporting players are fine and Vilma Degischer continues her wonderful portrait of the stern, if loving, mother-in-law Sophie. 

Verdict: Entertaining and nice to look at if you take it with a grain of salt. ***.  

SISSI: THE YOUNG EMPRESS

A ball at the palace

SISSI: THE YOUNG EMPRESS (aka Sissi - Die junge Kaiserin/1956). Director: Ernst Marischka. 

This is the second film in the trilogy that began with Sissi. Sissi (Romy Schneider) and Franz Josef (Karl Boehm) are married and living in the beautiful Schonbrunn palace. As Empress of Austria, Sissi is instrumental in creating new understanding between the Austrians and Hungarians when she importunes Franz to offer amnesty to former enemies. Naturally, her termagant mother-in-law, Sophie (Vilma Degischer), a conservative with old, rigid ways, disagrees with Sissi, then goes too far when she decides to simply take over the raising of Sissi's baby daughter without even talking it over with the mother. This causes a brief separation between the emperor and his wife. This is an entertaining movie, even if it gets to be a little cloying at times, and there seem to be more kids [in the scenes when Sissi goes home to her family] than in The Sound of Music, adorable as they may be. Although this has the same cinematographer as Sissi, Bruno Mondi, the film and its glamorous, magnificent settings are photographed and displayed with much more care than in the first film, making this a treat to look at. Anton Profes has contributed a beautiful opening theme as well. The silly bodyguard, Major Bockl (Joseph Meinrad) is back and now in love with Sissi. Schneider, Boehm, Degischer and the other actors all give fine performances. 

Verdict: Not exactly heavy drama, but lovely in many ways, and well-acted. ***.