Reviewed by Lee Hill
The Catholic Church has seen better days at the cinema. During the Golden Age of Hollywood in the 30s and 40s, The Church acted as gatekeeper and censor ensuring that both the Holy Spirit and Hays Code were affirmed. The clergy on film tended to come with a touch of the blarney a la Bing Crosby or as sympathetic, but ineffectual sounding boards like Karl Malden in On The Waterfront. More unorthodox or radical explorations of The Church, such as the work of Luis Bunuel or Robert Bresson, were relegated to film festivals and the art house Still every now and then faith would be explored with more than just good taste, but moral complexity in films like Fred Zinnemann’s A Nun’s Story or Alfred Hitchcock’s I Confess.