San Francisco Police Lieutenant Virgil Tibbs is called in to investigate when a liberal street preacher and political candidate is accused of murdering a prostitute. Tibbs is also battling ... See full summary »
After a group of young revolutionaries break into a company's corporate headquarters and steal $5,000,000 worth of heroin to keep it off the street, they call on San Francisco Police ... See full summary »
Gerald S. O'Loughlin
Dr. Matt Younger and his daughter arrive for a month-long visit to London for dirt-bike racing and unexpectedly, a new romance for the widowed Dr. Younger. His new love interest is the ... See full summary »
Having finished a tour of duty in the army, Homer returns to the chapel which, years before, he helped to build. Once again, he is inspired by the nuns' faith and selfless devotion, and ... See full summary »
Billy Dee Williams,
Homer Smith, an unemployed construction worker, heading out west stops at a remote farm in the desert to get water when his car overheats. The farm is being worked by a group of East European Catholic nuns, headed by the strict Mother Maria, who believes that Homer has been sent by God to build a much needed church in the desert... Written by
Christopher J. Thompson <email@example.com>
The film was shot on Linda Ronstadt's father's small ranch. There was no art director, but the Property Master, Robert Eaton, actually supervised the construction of the chapel, adjacent to existing ranch buildings. The interiors of the Nun's abode were filmed in these buildings. Robert Eaton rented a prop organ, furniture, and other set dressing and hand props from the Hollywood Cinema Mercantile Property House, located on Santa Monica Blvd near Paramount Studios. Eaton drove a rental truck carrying all the props to Arizona for the shoot, returning all the props after the film's completion. Watching the main Nun's interior abode, the prop organ stands against one wall, with a painting hanging on an adjacent wall. There is absolutely no continuity in where the prop table and chairs, related organ and hanging picture belong. The props are choreographed to the actors' motivation or movement in each scene. In the summer of 1979, Ralph Nelson was the principle motivation in directing a NBC TV MOW "Christmas Lillies of the Field" featuring Billy De Williams (Homer Smith) and Maria Schell (Mother Maria). The film was planned as a pilot for a mid-season 1979-1980 series replacement which was to be based at the Provo, Utah, Osmond Family Television Studio Production facility. The Chapel and Nun's quarters were built on State owned land 75 miles from the studio. The production planned to use this location for the series, filming additional locations in the Salt Lake area. Ralph Nelson would produce and direct the TV series "Lillies of the Field". The December 29th, 1979, MOW's slim viewer ratings resulted in cancellation of any further series development. See more »
When Smith starts to sing the final song he seems to have a cleaner shirt than the preceding scene. See more »
I cannot see further and I cannot believe further.
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At the end of the film, the word "Amen" is seen, rather than "The End". See more »
Of all the fine work done by Sidney Poitier during his heyday, this film stands out as the most accessible, the most likable and the most heartwarming. Poitier's portrayal of itinerant builder Homer Smith rings true throughout, a man living life on his own terms...yet still a humane and involved individual.
This film has everything that brings good humor to a movie. The classic "fish out of water" premise, amicable cross-cultural confusion, joyous music...but it is much, much more than a mere comedy; much more than a simple drama.
This film was made in the thick of the civil rights movement. A black man in close juxtaposition to a group of white nuns was an eyebrow raiser in the 60's, as was the overall multicultural setting. White, black, Mexican, Anglo, German, Hispanic - all are tossed together with such a deft hand that the occasional nod to the prevailing racist attitudes of the time is almost brushed aside as the film skillfully makes its point. The emphasis here is on people doing as people should do...working and living together, helping one another and learning and growing from the experience.
Perhaps this is the time for any of us who has seen this film to see it again, and ask ourselves how the lessons of "Lilies of the Field" can be applied to the recovery from the devastation of Hurricane Katrina, and the relief of all the human misery that has resulted.
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