The release of the film THE CRIME OF PADRE AMARO caused about as much of an uproar in Mexico in 2002 as the publication of the novel, written by Jose Maria Eca de Queiroz, caused in 1875. With its dangerously intertwining themes of spiritual ecstasy and sexual passion, it's not hard to see why. At the heart of the story is a young priest who wrestles in a major way with the tempting hungers of his body and the grace-filled yearnings of his spirit. It does not help that, to pursue his vocation, he is sent to a town sustained by a culture of corruption.
One thing actor Gael Garcia Bernal does not know how to do is give a bad performance, and in the movie's title role he captures brilliantly all the agonizing ambiguity that comes with being a young adult male intent on asserting his masculinity while also serving the spiritual needs of his community. Unfortunately, his happily deluded demeanor meets with an equally intense personality in the form of Amelia, a devout young devotee acted with mesmerizing perfection by the gorgeous Ana Claudia Talancon. Amelia idolizes the young priest as a true and noble holy man whose sexuality is made sacred by his presumably pure soul. He in turn dares to drape her in a cape reserved for representations of the Madonna and recites to her from Solomon's "Song of Songs" as they seduce each other. Controversial? Better believe it.
As in the film THE HEALER (please see companion review) "The Crime of Padre Amaro" depicts sexuality and spirituality as equally powerful forces of attraction capable of producing very different results, which will not be revealed here. The outcome in "The Crime of Padre Amaro" is shocking in more ways than one and well worth contemplating for a long time.
by Author-Poet Aberjhani, author of "Christmas When Music Almost Killed the World"
