In 1456, French King Charles VII recalls the story of how he met the seventeen-year-old peasant girl Joan of Arc, entrusted her with the command of the French Army, and ultimately burned her at the stake as a heretic.
Two aging playboys are both after the same attractive young woman, but she fends them off by claiming that she plans to remain a virgin until her wedding night. Both men determine to find a way around her objections.
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.Written by
Shannon Patrick Sullivan <firstname.lastname@example.org>
Features legendary director John Huston's only Oscar nominated on screen performance. See more »
As Father Stephen Fermoyle (Tom Tryon) crosses the street to enter a Boston pawn shop (approximately 00:52), the shadows of an arc light and grip stand are seen on the pavement during a sweeping pan. See more »
Episodic View of Catholicism in the Early 20th Century
Based on an early 1950's bestseller, producer/director Otto Preminger's lush religious spectacle pits a Catholic priest from Boston against many of the controversies that dogged the Church during the first half of the 20th century. As the young priest rises in rank to Monsignor, Bishop, and eventually Cardinal, he must tackle abortion, inter-faith marriage, racial discrimination, Nazism, and self-doubts about his own religious calling before the nearly three-hour film reaches the closing credits. Despite its episodic nature, "The Cardinal" is an entertaining film, generally well acted, and filmed by master cinematographer Leon Shamroy against some of the most beautiful landscapes and interiors that Rome and Vienna can offer. The Jerome Moross score enhances the beauty of the visuals and provides an appropriate mood that is haunting and liturgical in tone. While Tom Tryon as the Cardinal, Stephen Fermoyle, does his best, a stronger actor with greater screen presence might have anchored the film and given it greater stability. Tryon at times appears colorless and unconvincing as a man who could rise so quickly and to such heights in the Italian-dominated Church bureaucracy. The film's acting honors instead go expectedly to such veterans as John Huston, Raf Vallone, and Burgess Meredith. Also, the film has dated somewhat as the conflicts depicted between events and Church dogma have been for the most part left in the past, abortion excepted. Perhaps a sequel is in order with Cardinal, or maybe Pope by now, Stephen Fermoyle faced with pedophile priests, gay marriage, and a Church that has lost many of its followers over the decades. But, despite the diminished relevance, "The Cardinal" remains a comforting old fashioned view of the Roman Catholic Church during a period when the mass was said in Latin, the celibacy of a priest was unquestioned, fish was eaten on Fridays, the sacraments were taken seriously, and a poor son of Irish immigrants could rise from Boston curate to Cardinal without showing any more signs of aging than a light dusting of powder on his full head of thick hair.
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