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. ***. 

DAVID AND BATHSHEBA

Gregory Peck and Susan Hayward

DAVID AND BATHSHEBA (1951). Director: Henry King.

King David (Gregory Peck) of Bethlehem is married to Michal (Jayne Meadows) but spots Bathsheba (Susan Hayward) taking a shower on a rooftop across the way. As Bathsheba hoped, David spies her and asks her over, where the two reveal an immediate attraction to one another. But what to do about Uriah, the Hittite (Kieron Moore), a soldier who happens to be married to Bathsheba? It seems David will do just about anything to keep his lover from being stoned to death as an adulteress ... Gregory Peck is not bad as David, but this is an actor who has always had trouble summoning up any kind of passion, even in his scenes with Hayward; he projects strength and nobility but little else. Hayward is more effective as Bathsheba, as is Moore [Satellite in the Sky] as the unwitting Uriah. Meadows [ Enchantment] is oddly cast but okay enough as the jealous, cast-off wife. Raymond Massey [Possessed] is fine as the pious prophet, Nathan, and young Gilbert Barnett makes an impression as David's sinister son, Absolom. James Robertson Justice looks and acts as if he wandered into the movie by mistake; George Zucco makes a better impression as an Egyptian messenger from Pharaoh. The best scene in David and Bathsheba is a flashback which details the well-staged battle between a young David and the hulking Goliath. The contributions of Leon Shamroy (cinematography) and Alfred Newman (score) are also of note. Peck first refers to his lover as Bathsheba than starts calling her Bathsheba; the other characters can't seem to make up their minds as to which pronunciation is correct!

Verdict: A biblical soap opera. **1/2.

THE ROBE

The stunning scenic design of The Robe

THE ROBE (1953). Director: Henry Koster.

After angering Caligula (Jay Robinson), tribune Marcellus Gallio (Richard Burton), son of a senator (Torin Thatcher), is sent off to Jerusalem with his proud slave, Demetrius (Victor Mature). Marcellus is one of several men ordered to crucify Christ by Pontius Pilate (Richard Boone). Marcellus wins the robe of dead Christ in a game of dice but finds he is unable to wear it, then Demetrius runs off with it. Ordered to get it back by Emperor Tiberius (Ernest Thesiger), so the "bewitched" item can be destroyed, Marcellus encounters a group of devout Christians and begins to see things their way ... The Robe, the first film shot in CinemaScope, is often rather spectacular to look at, thanks to Leon Shamroy's superb cinematography and the splendid scenic design, but it can hardly be called a "great" movie. It's a given that the film's religiosity might seem oppressive to some viewers, but the film begins to lull about halfway through and never quite recovers -- it's when the quite pious Justus (Dean Jagger) shows up, along with the crippled and beatific singer Miriam (Betta St. John). However, the film does boast several good performances, especially Burton as Marcellus, with good (if unexceptional) turns from Jean Simmons as our hero's lady love, Diana; Thatcher as Marcellus' father; Robinson as a screechingly effective Caligula; Thesiger as the elderly emperor; and Michael Rennie as Peter. Three actors worthy of special mention are Victor Mature [Kiss of Death], who is excellent as Demetrius, even if his performance consists mostly of expressive pantomiming; Michael Ansara [Dear Dead Delilah] in a striking turn as Judas; and Jeff Morrow [The Giant Claw] who certainly scores as the centurion, Paulus, and who figures in an exciting sword fight with Marcellus. Jay Novello, Percy Helton and Thomas Browne Henry are also good in bits as a slave trader, wine merchant, and physician, respectively. Alfred Newman's score washes the whole movie in dramatic overtones. Followed by Demetrius and the Gladiators.

Verdict: Certainly well turned out for what it is. **1/2.