6.5/10
147
4 user 3 critic

Diary of a City Priest (2001)

PG-13 | | Drama | 19 January 2001 (USA)
David Morse plays Father John McNamee, a catholic priest who accepts a position at an inner-city church. The film begins with Father McNamee as he starts his new job and follows the priest ... See full summary »

Director:

Writers:

, (book) (as Father John McNamee)
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1 win. See more awards »
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Cast

Credited cast:
...
Father John McNamee
...
Father Dave Hagan
Philip Goodwin ...
...
St. Therese
Robert Sella ...
St. Malachy
...
Sister Mary
...
Sister Grace
...
Ivey
Rest of cast listed alphabetically:
Zuri Alexander ...
Cop (as Audrey Kelley)
Frank Bowman ...
Crazed Man - Addict
...
Ethan
Nancy Ding ...
Loving Couple
J.D. Jackson ...
Kurt
Christopher Kadish
...
Young Father Dave Hagan
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Storyline

David Morse plays Father John McNamee, a catholic priest who accepts a position at an inner-city church. The film begins with Father McNamee as he starts his new job and follows the priest through his struggles in adapting to his new surroundings. Based on a true story. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Sometimes the only true struggle is the one within.

Genres:

Drama

Motion Picture Rating (MPAA)

Rated PG-13 for brief language | See all certifications »
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Details

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Release Date:

19 January 2001 (USA)  »

Also Known As:

To imerologio enos efimeriou  »

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User Reviews

 
Invisible heroism without sentimentality
14 September 2004 | by (Wallingford, CT) – See all my reviews

David Morse captures without overstatement the persona of a dedicated priest who follows his calling to serve in an inner city community parish. There is no sugarcoating the frustration and sorrow he must embrace in order to love and serve people on the distant frontier between urban poverty and mainstream America. The portraits of the priest, his parish staff, and his parishioners are so true to life that the director must know this scene first hand. No attempt is made to beatify the priest or to create artificial and unrealistic tales of triumph and redemption among his parishioners, and consequently the viewer's experiences of both tragedy and hope arise from what feels like the substratum of true human experience.


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