The Cardinal (1963)

A young Catholic priest from Boston confronts bigotry, Naziism, and his own personal conflicts as he rises to the office of cardinal.

Director:

Otto Preminger

Writers:

Robert Dozier (screenplay), Henry Morton Robinson (novel),

Stars:

Tom Tryon, Carol Lynley, John Huston

Nominated for 6 Oscars. Another 5 wins & 5 nominations.

Cast

Cast overview, first billed only:
Tom Tryon	...	Stephen Fermoyle
Carol Lynley	...	Mona / Regina Fermoyle
Dorothy Gish	...	Celia
Maggie McNamara	...	Florrie
Bill Hayes	...	Frank
Cameron Prud'Homme	...	Din
Cecil Kellaway	...	Monsignor Monaghan
Loring Smith	...	Cornelius J. Deegan
John Saxon	...	Benny Rampell
James Hickman	...	Father Lyons
Berenice Gahm	...	Mrs. Rampell
John Huston	...	Glennon
Jose Duvall	...	Ramon Gongaro (as Jose Duval)
Peter MacLean	...	Father Callahan
Robert Morse	...	Bobby (as Robert {Morse} and His Adora-Belles)

Storyline

Stephen Fermoyle has grown up in Boston at the turn of the twentieth century knowing that his destiny lies with the Catholic priesthood. Finally finishing his studies in Rome, he returns to America full of certitude and ambition to one day join the College of Cardinals. But his road to that office is a long one, paved with crises. In Boston, he must decide whether to save the life of his sister or her unborn child, conceived out of wedlock. In Austria, he confronts the question of whether to remain with the priesthood or abandon his oath so that he can be with the woman he loves. In Georgia, he contends with Rome's indifference in the face of racial bigotry. And in Austria, he finds himself personally involved in the church's dealings with the Third Reich.

---

Plot Keywords:

bigotry | priesthood | catholic | priest | church | 

---

Genres:

Drama | History | War

---

Certificate:

Approved

Details

Country:

USA

Language:

English German Latin

Release Date:

12 December 1963 (USA)

Also Known As:

El cardenal

Filming Locations:

Belmont, Massachusetts, USA

Company Credits

Production Co:

Otto Preminger Films

Technical Specs

Runtime:

175 min

Sound Mix:

6-Track Stereo (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Final feature film of Russ Brown.

---

Goofs

All along the movie, we see, leading to St Peter's square, the Via della Conciliazione and its palazzi, built for the Holy Year of 1950, under the pontificate of Pius XII, whose election Cardinal Fermoyle is supposed to take part at the very end of the movie.

---

Quotes

Monsignor Monaghan: For Heavens sake, get them out of the church...!

---

Connections

Referenced in Hollywood and the Stars: Anatomy of a Movie: The Cardinal (1964)

---

Soundtracks

"They Haven't Got the Girls in the U.S.A."
Lyrics by Albert Stillman (as Al Stillman)
Music by Jerome Moross (uncredited)
Performed by Robert Morse (uncredited)

User Reviews

A Heavy Preminger Pastry

The stiffness in the telling marks the destiny of this confused tale. At times is quite simply, unendurable. The wooden rigidity of Tom Tryon makes things even harder to take. Unconvincing should be the polite way of putting it. Preminger shows an eye for the travelogue part but a total diffidence in the subject at hand. No feel for it at all. Solemnity shouldn't be the way but it is and a rather phony solemnity at that. At times, they all behave like creatures from another planet and nothing they say or do sounds or looks credible. The over long saga is told in little disjointed episodes, the only thing that remains constant is the inexpressive brow of Mr Tryon. Most of Otto Preminger's opus looks terribly dated now. "The Cardinal" is, perhaps, the most dated. Carol Linley goes from saintly sister to exotic dancer in one single throw and Romy Schnaider has a brief and calculated moment. If I had to save something it would be the scene in which John Huston goes to visit his dying friend Burgess Meredith. But those kind of moments are rare. For some reason that I haven't been able to figure out there is a long musical number by Robert Morse, but as absurd as it was, it came as a welcome change from the agonizing pace the film suffers through its interminable length.