Religious Movie Seminar

Ushpizin (Ha-Ushpizin)
Shown on Sunday, March 3, 2024

Shuli Rand, Michal Bat-Sheva Rand, Shaul Mizrahi
Directed by Gidi Dar (2004) 90 minutes

Commentary
Ushpizin by Gidi Dar is both funny and inspirational. The title means “The Sukkot guests.” Sukkot is Hebrew for the Feast of Booths or Tabernacles, when Jews erect a small shelter (a sukkah or succah) with a roof of palm branches in which to spend the week. It is a festival of the harvest that emphasizes hospitality. The feast recalls the 40 years that the Hebrews spent in the desert like nomads. Four plants are ceremoniously used: branches from palms and willows, leaves from a myrtle tree and the fruit of a citron tree, namely, an etrog. Filming took place in Jerusalem. Both Hebrew and Yiddish are spoken. The film was nominated for three Ophir Awards. Shuli Rand, who wrote the screenplay, won for Best Actor. It was also the winner of the Israeli Critics Award for Best Picture. Interestingly, the two actors who play a married couple are in fact married, Shuli and Michal Bat-Sheva Rand.

The film begins with Orthodox Jewish men carefully examining the four species that they will buy for the feast, looking for the best specimens. Some men debate whether a fruit of a citron could be worth 500 or even 1,000 shekels! We are introduced to the main character, Moshe Bellanga, who is desperately short of money. Moshe is the Hebrew form of the name Moses. His wife asks if he went to yeshiva, a school of rabbinic literature. He trusts that God will provide for them despite no pay for a month. They also hope for a child someday, so they need a miracle.

On the street, we see a Jew blowing a shofar, a musical horn made from a ram’s horn. It is typically blown for Rosh Hashanah and Yom Kippur. In his prayer, we hear how sad yet devout Moshe is. Meanwhile, his wife, Malli Bellanga, also prays and the miracle takes place. First, they get a succah. Then, they receive $1,000, which would have been worth over 3,000 shekels! Moshe and Malli rejoice in the divine blessing. Moshe buys the best citron for 1,000 shekels to honor the Lord for the Feast while Malli stocks up on food. She is shocked at how much he spent for the citron, but a sacred verse associates a beautiful citron with being blessed with boys. He also gives Malli earrings. Moshe wears a shtreimel for the feast, a big fury hat worn especially by conservative Hasidic Jews

The scene shifts suddenly to two convicts who fail to return to prison. Moshe, then, finds one of them, an old acquaintance, Eliyahu Scorpio, sitting in his succah with his companion, Yossef. Moshe invites them to be his guests for the feast because he believes that God sent them to him. The guests are obviously strangers to religion. Moshe explains that the succah signifies that we are merely temporary guests in this world. Eliyahu remembers Moshe before he was religious, and is not convinced of his newfound holiness. Eliyahu, from Eilat, a resort town by the Red Sea, remembers when Moshe was a violent man who drank heavily. Because Moshe drank a bit too much with them that evening, he was late for the synagogue the next day, yet the rabbi thinks that he can be a good influence on his guests. Moshe overhears them and learns that they are fugitives. He tells them that he needs to go visit his in-laws, so they decide to leave. His wife is surprised that he lied. She also feels guilty for not being a better hostess. Eliyahu and Yossef return and find the couple in the succah eating. They enter, are welcomed back, immediately eat the meal and even ask for other items! Still, the Bellangas think that God has blessed them. They are truly humble and devout. The fugitives even “borrow” money from Malli in Moshe’s absence.

Moshe learns from his friend, Ben, that the succah that he has belonged to someone else, so he figures that is why he has had trouble. Meanwhile, the bad guys cause a commotion in the neighborhood, grilling to loud modern music. The Hasidim confront them, but they remain adamant. Malli ends the uproar by forcing them into the apartment at the point of a skewer of meat and locks them in. Someone called the cops, but Moshe returns and settles the affair outside. Inside, however, Malli finds out that her guests are criminals running from the law, so she packs to leave. Everything that goes wrong, nevertheless, is interpreted as a test from God. Eliyahu apologizes to Moshe for messing up his life. Malli left him and talked to the rabbi. He also visits the rabbi who tells him that just when we think that we deserve a rest for our accomplishments, God gives us a harder test. He advises him not to get angry. He goes home and discovers that Eliyahu cut up the citron for lack of a lemon! He screams, yet fights the temptation to explode. They see the fire in his eyes, but he runs to a secluded place and prays.

When Sukkot is over, the Jews dismantle their shelters. Malli comes home. Throughout the story, Moshe and Malli had compared themselves to Abraham and Sarah, who, after a long ordeal, were finally blessed by God. Now, they get the blessing for which they had hoped. For the record, the name “Nachman” means “be pleasant,” and it is like the name of the Syrian general Naaman. The whole community rejoices with the Bellangas, even Eliyahu and Yossef return to celebrate. Yes, God tests His children, yet He also rewards them for their patience. Ushpizin leaves us with a feeling of relief and gratitude for the mercy of God. Praise the Lord!

David & Fatima
Shown on February 25, 2024

Cameron Van Hoy, Danielle Duvale, Martin Landau, Tony Curtis, Robert Miano; Directed by Alain Zaloum (2008) 120 minutes

Commentary
David & Fatima by Alain Zaloum, like West Side Story, is a modern version of Romeo and Juliet, but the difference that separates the lovers is not political like the Montagues and Capulets or ethnic like the Jets and Sharks, but religious. David is a Jew and Fatima is a Muslim, living in Israel where interfaith marriages are illegal because they can only be performed within the religious community of the couple. Kari Bian, the executive producer, who also had a hand in the script, is an Iranian American. To avoid favoritism, he hired a director who is originally a Copt from Cairo.

Martin Landau was 80 years old at the time of filming and Tony Curtis 83. Coincidentally, Curtis’ name in the film is Mr. Schwartz, yet he was born Bernard Schwartz! His parents were Hungarian Jews. Sadly, this independent film was generally ignored in Israel. At a cost of $600,000, the film had a low budget. Most of the filming was in Los Angeles, yet some scenes were shot in Israel.

The film begins with two couples going to the hospital for the births of their children. Significantly, their cars block each other’s way. While the men argue about who is going to get out of the way, their wives start giving birth! Fortunately, Ishmael Aziz is a physician and delivers both babies there. Later, we hear the Muslim woman, Aiida Aziz, explaining to her little daughter, Fatima, that all Arabs came from Ishmael, which happens to be her husband’s name. Meanwhile, the Jewish man, Benny Isaac, explains the same origin of the animosity between Jews and Arabs to little David and his sister, Tami. Significantly, his name is Isaac. Both imagine that each side is jealous of the other.

Suddenly, David and Fatima are grown up. Fatima, distracted by music in her earbuds, almost walks into traffic, but David saves her. Next, she sees Hassan struck by Israeli soldiers for blowing smoke in their faces. She takes him to her father. Ishmael Aziz is a physician. Suddenly, a su***de bomber sets off an explosion on a bus killing 22. David only suffers scratches, but he too would have died if Fatima had not delayed him. So, they saved each other’s lives. They are each other’s “guardian angel.”

David, then, gets a letter to begin his military service. His family celebrates his 18th birthday in a restaurant. David has been reading Rabbi Schmulic. It makes him rethink what being a Jew means. His sister says that Schmulic is worthless. His father calls it left-wing nonsense. Ironically, Schmulic is called an antisemitic rabbi! The military deems idealists to be weak. Fatima arrives with her family to celebrate her birthday, and the parents of both recognize each other. David and Fatima came into the world at the same time. They’re like Shakespeare’s “star-crossed lovers.” He shows Fatima the photographs on his camera and tells her that he would like to become a photojournalist. He also shows her a picture that he took of her and tells her that she is beautiful. He asks her if she ever goes out without her hijab. She never does. They plan to meet later, but her father stopped her from going out. He is strict, but at least, Ishmael is not arranging a marriage for her. Instead, they meet the next day, and she tells him that her father assisted at both their births.

She goes back to her father’s clinic and learns that Hassan’s cousin, Mahmoud, was the “martyr” on the bus and now the Israelis will destroy the home of his aunt. Hassan asked Ishmael to take Fatima out. He tells her that Mahmoud had seen his father killed, then joined Al Aqsa Martyr’s Brigade. Hassan tells Fatima to remove her hijab, then takes her to a disco. David gives up waiting for her, but his friend, Avi, takes him to the same bar. When Hassan gets bossy, Fatima tries to leave with David, but Hassan hits David. She finds him outside and they kiss. Later, they text each other on computers. David prefers peace to fighting, so his interview with the Israeli Defense Forces (IDF) did not go well. The couple gets together again and she says that one does not change Jerusalem; one is changed by it. Yet, she acknowledges that with courage and a good heart, one can change the world. She is afraid that the military will change him, but he promises that it will not. He would be in for 32 months. Avi tells Tami about the girl. Tami sees pictures of Fatima on David’s computer. He catches her but she warns him that the Arabs will kill Fatima if they find out.

Hassan, who is like Shakespeare’s Tybalt, finds them out for a walk and badly beats David. Hassan tells Fatima that if the Jews do not kill her, they will. The parents of both meet in the hospital where David has a concussion and broken ribs. Ishmael slaps his daughter, saying that she needs to understand their culture and tradition. Tami visits her brother in the hospital and says that she does not want to “sit shiva” for him, meaning seven days of mourning. Old Mr. Schwartz on his wheelchair advises David not to let go of his love because he will spend the rest of his life looking for it. Coincidentally, Tony Curtis died only two years after this film. Notice Dr. Levi played by Robert Miano, who in other religious movies has played the Prophet Daniel and Mordecai. Meanwhile, Ishmael invites the Imam, an Islamic leader, to their home to discuss sending Fatima to Jordan or Syria and arranging a marriage.

After returning home, David’s parents, “abba" (dad) and “imma” (mom), ask him to promise not to see Fatima again. He nods silently, but goes to her at night and proposes marriage. They elope. Because they cannot be married by Jews or Muslims, they find a Catholic priest, but that too is futile. They would have to go to Cyprus for a civil marriage, but they have no money. Benny and Ishmael agree that if they find their children, they will never let them be together again. They shake hands, but immediately try to wash off the touch, signifying the depth of their hatred.

Next, David and Fatima visit the eccentric Rabbi Schmulic, played by Martin Landau. He grew a plant from a 2,000-year-old seed. Does this signify the renewal of something lost. To witness their marriage would be illegal. Besides, Schmulic has lost his faith. David says that he needs hope. Schmulic tells them that a marriage is the union of not merely two individuals, but of two families. Neither claims to have any hatred for the other’s tribe. Although he has no legal authority, he performs a wedding ceremony. Back home, Benny feels betrayed by his own son who has gone over to the enemy. In an abandoned building in the desert, David and Fatima have their honeymoon, but the next day, they are arrested for stealing Benny’s car. They are separated and returned to their parents. David reveals that they got married.

Later, he is a member of the IDF and visits Schmulic. Although David was told that Fatima is dead, Schmulic hands him a letter from her. While on patrol, David tracks her down. Like the Shakesperean tragedy, nevertheless, this one too ends in death. What began on the same day, ended on the same day. Unlike Christianity which is centered on mercy, Schmulic says that the Holy Land is an “unforgiving place.” In conclusion, the film makes a sincere effort to resolve hatred with love, but no artist can undo what was foretold in the Word of God (Gn.16:12): the hostility will endure as long as time itself. Still, the story can teach Christians much about life in Israel while inspiring sympathy for the suffering and hope for peace.

Lisa
Shown on Sunday, February 18, 2024

Dolores Hart, Stephen Boyd, Leo McKern, Donald Pleasence, Finlay Currie, Directed by Philip Dunne (1962) 112 minutes

Commentary
Lisa by Philip Dunne was called The Inspector in England, which was the title of the book by Jan de Hartog. In 1963, it was nominated for a Golden Globe as the Best Picture (Drama). Natalie Wood had signed to play the lead role, but dropped out, so the part was given to Dolores Hart. Stephen Boyd had potential, but died at the age of 45. The cast is greatly enhanced by Donald Pleasence as Sergeant Wolters, Leo McKern as Brandt, the captain of a barge, and Finlay Currie as De Kool, all of whom have been in several religious films each. Being 1962, one cigarette after another is constantly being lit. From Dutch wind mills to a snake-handling belly dancer, the exotic scenery keeps changing.

The story begins in 1946 with Inspector Peter Jongman, played by Boyd, tracking Lisa Held from Holland to England in 1946. She is es**rted by a former N**i that Jongman calls a “white slaver.” Lisa’s Jewish parents died in a gas chamber, but at the end of World War II, she was liberated from a concentration camp. She bears a serial number tattooed on her arm. Jongman, however, has no legal authority in England, but he is willing to bend the rules to help this girl to escape the clutches of her custodian, Thorens. While Jongman confronts Thorens, the girl flees down a fire-escape. Thorens had promised to take her to Palestine, but his intent was to bring her to South America for prostitution. Thorens was later found dead, so Jongman is under suspicion.

It is difficult for anyone to get to Palestine because the British have declared a state of emergency. Motivated by his failure to save his fiancé, Jongman offers to take Lisa to her destination. Despite being illegal, he considers it to be justice. She agrees to follow him back to Holland. At his home, Peter’s mother suspects that Lisa is a pr******te taking advantage of her son, but Lisa reveals that she was an object of medical research at Auschwitz.

Jongman meets De Kool at the waterfront, who connects him to Captain Brandt. They board his barge while the police look for them. Wolters cleverly finds and follows the renegade officer. They travel through a maze of canals and under draw-bridges. At a stop along the way, Jongman goes ashore to fetch supplies, but takes time to ponder his situation. Meanwhile, Wolters informs Lisa about the investigation into the death of Thorens. Lisa enjoys the cruise with the captain, his dog and Peter and wishes that it could continue. She tells Peter that, when she left Auschwitz, she saw the only tank of the Jewish forces in Europe emblazoned with the Star of David. It is as if she has been looking for it ever since. Jongman tells Brandt that he hopes to take Lisa to Tangier, a city in Morocco. Brandt gives him the name of a man to contact, Van der Pink.

When they cross the border into France, Wolters is at the border with the authorities, but Peter and Lisa hide in a secret compartment. The enclosure frightens her, because it is like the “punishment box.” He has to keep her from screaming. Wolters finds the hiding place, but does not reveal their whereabouts, letting them cross. They get to Morocco and meet Van der Pink, played by Hugh Griffith, a sordid and slovenly skipper with a very high price for smuggling the girl.

Peter confides to Lisa that he has fallen in love with her, but she tells him that there is no hope for him. An English officer, Dickens, who has been trailing them, tries to dissuade them from going to Palestine. They go to Mr. Browne and he agrees to take Lisa, but first she needs a physical. The experience is traumatic because it reminds her of medical experiments performed on her at Auschwitz. Dolores Hart shows her talent in the retelling of the horror of being a guinea pig. Now, Brown thinks that she should go to the Nuremberg trials to testify as a key witness. Peter is upset because it seems that vengeance is greater than mercy, hate more than love.

At the last second, though, just before she flies to Germany, Peter takes her from the plane. He signs a contract with Van der Pink. On a boat called the Madre Dolorosa (Mother of Sorrows), Peter and Lisa head into the Mediterranean. Although the ship was supposed to be carrying only K-rations, the cargo is weapons. The ship is attacked by gun-runners, but they are chased away by a British warship carrying Dickens. In the fracas, Lisa is wounded. They finally reach Palestine. Boats take them to shore, and there, Lisa sees a tank marked with the Star of David. Like a savior, the tank takes her to a doctor. Peter, then, decides to stay and follow her.

The film is a drama depicting the difficulty that Jews had escaping Europe after the Holocaust and returning to the land of the patriarchs to reestablish the nation of Israel which, since World War I, had been under British control. Mixed in with this Jewish theme is the love story which is complicated by Lisa’s psychological issues. Difficulties are finally overcome and she reaches the Promised Land. From 70 A.D. when the Romans destroyed Israel until the reestablishment of the nation in 1948, the Jews had been a scattered diaspora. Could it be that their rallying to the land of their forefathers is a sign that the Messiah is about to come …again?

Finding Altamira
Shown on Sunday, February 4, 2024

Antonio Banderas, Golshifteh Farahani, Rupert Everett
Firected by Hugh Hudson (2016) 97 minutes

Commentary
Finding Altamira by Hugh Hudson is an historical drama about Marcelino de Sautuola (Don Marcelino Sanz de Sautuola y Pedrueca, 1831-1888) who discovered prehistoric art in a cave on his property. The dating of the paintings caused friction between him and the scientific community on the one hand, and on the other, religious obscurantists and biblical fundamentalists. After his premature death, the paintings were estimated to be even older than anyone at first imagined. Although filmed in authentic locations and starring Antonio Banderas, the movie was a financial disaster, recovering only $1,341,205 of the roughly $9,000,000 it cost to make. It is itself, nevertheless, a beautiful work of art that unfortunately depicts some serious shortcomings of individual prelates. In fact, the faith of the Catholic Church does not oppose science. Rather, both lights combine to reveal the truth.
The story begins by contrasting two speeches, one by a prehistorian and the other by a preacher, setting up the classical debate between evolutionism versus creationism. Of course, that debate fizzles when one understands that God created evolution. The discrepancies in the different stories of creation in Genesis proves that the Bible teaches spiritual truth regardless of historical fact.

Marcelino de Sautuola is introduced at The Universal Exposition (World’s Fair) in Paris. Then, the scene shifts to Santander, Spain, in 1878, with its verdant landscape. The buildings and wardrobe are equally spectacular and the sound of classical Spanish guitar adds to the ambiance. At a party, one scholar claims that the Earth is 18 million years old. Moreover, Father Tomas wisely says that biblical time cannot be reckoned like a calendar.

A man discovers a deep hole in a hillside. Then, Marcelino widens the entrance to allow passage. His daughter, Maria, wanders deep into the cave with a lantern and discovers paintings on the ceiling. This is Altamira. Marcelino appreciates the significance of this major discovery and immediately thinks of summoning experts. His wife, Conchita, played by the Iranian Golshifteh Farahani, is a devout Catholic who accepts the fundamentalist view that Adam and Eve lived around 4000 B.C., so talk of anything possibly 10,000 years old makes no sense. At a cemetery, we see that two of their children died very young in 1865 and 1866. Young Maria dreams of the bison and the audience is privy to the mental encounter. Her relationship with her father is one of the main subplots of the story. Marcelino’s friend, Professor Villanova, sees the paintings and is amazed because they do not fit with the scholarly understanding of prehistoric men, so Marcelino suggests that they change their ideas. This is depicted significantly when his gardener warns Marcelino that a bush wants to grow in a certain direction, so he orders the path to be moved away from it, to give nature room.

When the discovery is announced, the archenemy, De los Rios, opposes the idea that the paintings could be paleolithic. Monseñor tries to influence Conchita, speaking against Darwinism. A newspaper publishes an article claiming that Altamira is blasphemy and an attack of the Church. Another calls Sautuola a heretic! Marcelino thinks that paintings of the paintings would allow more people to see them, so he hires Paul Ratier to copy the ceiling on paper. The artist finds them astonishing because they show a great understanding of nature and movement. Edouard Harlé and another man, representing the renown prehistorian, Émile Cartailhac, visit the cave, but they suspect that Ratier painted it. They find a sample of the paint that he tried to recreate from local red ochre. When Maria becomes ill, tension mounts between Marcelino and Conchita.

Villanova presents the findings at an international congress on anthropology in Lisbon. He asks Marcelino to speak to the professors, but Cartailhac challenges the estimated age of the paintings. He accuses Marcelino of forgery! Harlé noticed that there are no soot marks on the ceiling. He presents a sample of the ochre paint that Ratier had made. Cartailhac turns the scholars against Marcelino who leaves in disgrace. The scientists whom he so much admired have rejected him and his great discovery. Marcelino and Ratier quarrel. Animosity begins to tear apart his family. Ratier, however, knows forgery and that no forger would ever make something so original. Ratier respects Marcelino as a visionary who suffers the envy of lesser men. Marcelino had believed in science dogmatically, but he forgot that it was created by men in their own image.

When an article in the paper says that Marcelino is not fit to be a father, Conchita realizes that the pseudonymous author is Monseñor who twisted what she confided in confidence. Marcelino, then, learns from a maid that burning marrow fat leaves no soot marks. That discovery, however, would not be enough to convince Cartailhac. Finally, twenty years have passed. Marcelino de Sautuola already died at the age of 57 (in 1888, though the movie says 1889). Cartailhac visits Conchita and Maria to apologize accompanied by Abbé Breuil who tells of other paintings discovered at La Dordogne. Cartailhac wanted to apologize in person, not realizing that Marcelino is dead, so they bring him to his sepulcher. Then, Maria takes Cartailhac to the neglected cave and unlocks the gate. The film ends with a quotation from Pablo Picasso, “After Altamira, all is decadence – we have invented nothing.” Modern technology now dates the paintings to be around 11-19,000 years old, more than anyone had thought, but not 35,000 as it says in the postlude. Cartailhac published an apology entitled “Mea Culpa d’un Sceptique.”

Finding Altamira is an engaging drama that teaches reasonable scientists not to be too dogmatic and warns faithful priests not to confuse salvific truth with historical facts. Although the character of Monseñor makes the Church look bad, Padre Tomás and Abbé Breuil are good priests. Maria feels vindicated on behalf of her beloved father, who deserves to be honored for enlightening humanity about itself. It is a pity, though, that the film failed at the box office.

Joan of Arc
Shown on Sunday, January 28, 2024

Ingrid Bergman, José Ferrer, Ward Bond, Francis L. Sullivan, Cecil Kellaway, Leif Erickson, Hurd Hatfield
Directed by Victor Fleming (1948) 145 minutes

Commentary
Joan of Arc by Victor Fleming is the nicest of all the films about the saintly warrior. You will not find bloody gore, filthy clothes and foul language in this studio production. Sacrificing historical accuracy for the sake of pious edification, the film is, nevertheless, a 4.6-million-dollar spectacle packed with stars from the glorious era of Hollywood. In fact, the number of experienced actors in the cast is astounding. The narrator tells us that France had lost the 100 Years War and shows ruins, yet everything still looks neat and tidy. There is always a soft light shining in the gloomiest scenes. They call her Jeannette, which is more accurate than the anglicized Joan, but Jehanne is how she spelled it, the feminine version of Johannes or John.

The movie begins with her life at home in Domrémy. She hears voices telling her to lead the army of France to victory against the English and Burgundians. Coincidentally, her father has dreamt that she would do so. Ingrid Bergman, the gorgeous Swede, was 33 years old, far more than the 19-year-old saint, but her beauty and talent made up for her age. She leaves with the help of her uncle and speaks to a captain, but is dismissed. Another officer, Jean de Metz, however, recounts a prophecy about a maid of Lorraine that will save France. She had never heard of it, but she is its fulfillment. The captain learns that Joan has a gift of knowledge because she knew of a battle far away before the facts reached him. So, he sends her to the king with her first two followers, Jean de Metz and Bertrand de Poulengy. First, she cuts her hair and wears male clothing to be less conspicuous. The ride is long and dangerous during the winter.

José Ferrer, the renowned Puerto Rican actor with a rich voice, plays Charles VII, the weak and beggarly Dauphin. Of course, they put someone else on the throne, but Joan sees through the deception and identifies the rightful heir. His cousin, Jean, the Duke d’Alençon, supports the maid. Although the courtiers mistrust her, she proves herself to Charles by revealing secrets. The film includes a part of history that is often overlooked, namely, that the Church thoroughly examined and approved of Joan before her mission. An army of willing volunteers arrives drawn by the maid, but Charles hesitates. She beckons him to send them because she knows that her time will be short. They go and we see her in her shiny suit of armor. She meets the captains, Poton de Xaintrailles, Giles de Rais, Louis de Culan, Raoul de Gaucort, St. Sevére (Jean de la Boussac) and the boisterous La Hire played by Ward Bond. She agrees not to give military commands, but she makes moral demands. Even gambling, which is not sinful, is unacceptable to her. Despite complaints, she calls every woman to leave the camp and every man to confess his sins.

Outside of Orleans, she meets Dunois, “the bastard of Orleans.” They es**rt her to the city where she warns Sir William Glasdale and the English to leave, but he calls her a sorcerer and a harlot, claiming that God is on their side. The French attack. Joan is wounded. They retreat, but she rallies them back to the fight. When Glasdale dies in a blaze, Joan says that death by fire is a horrible fate. They win a glorious victory, but Joan is in tears because she led so many to their death. At a meeting of the English and Burgundian leaders, Francis L. Sullivan, as Pierre Cauchon, the Bishop of Beauvais, adds his superb acting skills. Although the Church has already judged Joan to be holy, Cauchon assures them that the verdict would have been different under him. The scene shifts to Charles preparing for his coronation. Gene Lockhart as Georges de La Trémouille, the King’s Chief Counsellor, thinks that Joan is ambitious. A Burgundian messenger arrives offering a truce and a great fortune, tempting Charles. The coronation is celebrated with pomp in the cathedral of Reims, the traditional place. Although Joan gladly pays homage to her king, the crowd hails her and incites Charles to jealously. Later, Joan implores the king to take Paris, but he has already accepted a truce (for a price). The maid is distraught. To appease her, he ennobles her and exempts her family from taxation. He orders her to remain in court, so she sadly bids farewell to the captains. The Duke d’Alençon says that Charles has betrayed them. She leaves her armor at the altar and prays. Life as a courtier is miserable, but her voices offer no guidance. She decides to keep fighting, but is captured by the Burgundians. So, Cauchon pays 10,000 pounds for her.

The trial begins. She received her first revelation at the age of 13. Saint Michael told her to save France. At other times, Saints Catherine of Alexandria and Margaret have appeared to her. Of course, she responds famously that if she is not in a state of grace, may God put her there, but if she is, then may He keep her there. She tells the court that they are not authorized to judge her because they are her enemies and that Cauchon is the servant of England. When one bishop decides to leave this bias trial, he is arrested. Further proceedings will be held privately. Cecil Kellaway as Jean Le Maistre, the Inquisitor of Rouen, appears in his black and white Dominican habit. Her voices were silent for a while, but now she hears them daily. They told her to accept her martyrdom bravely and she will be liberated, but she does not know what that means. Cauchon understands that to martyr her would strengthen France against the English and Burgundians, so he is determined to compel her to abjure her voices. Then, the people would repudiate her. Father Massieu, her bailiff, however, recommends that she appeal to the pope. She does, but Cauchon decides to proceed illegally. A cardinal, then, declares that the trial is simply political and leaves. The prosecutors, nevertheless, continue to denounce Joan as a heretic, witch and schismatic. When her sentence is being read, her sympathetic advisors tell her to submit. Physically and psychologically exhausted, she is enticed by the promise of an ecclesial prison for women. Finally, she signs, but they lied. She goes back to the same prison. She realizes that she was wrong. Fear of the fire moved her to abjure. They condemn her as a relapsed apostate, yet she receives Communion! Understanding the momentous and enduring impact of her martyrdom, good Father Massieu, played by Shepperd Strudwick, gives the last speech as the flames take her soul to God.

Joan of Arc by Victor Fleming may lack authenticity for filtering the nastiest historical elements, but it is the most uplifting of the many films about the Patroness of France. The performance of Ingrid Bergman, a devout Lutheran who read the Bible daily, surpasses those of Maria Falconetti, Jean Seberg, Leelee Sobieski and Milla Jovovich in the same role. There are no anticlerical, political or cynical motivations embedded in the script. It is simply about how the victorious faith of a girl saved her country. In the end, it is no surprise if an audience finds its heart in its throat.