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ON FAITH & MEDIA View Comments

Season of the Witch

By
John Mulderig
Source: Catholic News Service

"I serve the church no more!" declares the main character in the baleful and boring medieval adventure "Season of the Witch" (Relativity). And, given the relentlessly negative picture of the era's Catholicism that screenwriter Bragi Schut and director Dominic Sena present throughout their film, it's little wonder he feels that way.

Said personage is a warrior named Behmen played, with much huffing and puffing and stomping about, by Nicolas Cage.

Together with his buddy and comrade Felson (Ron Perlman)—a dim bulb with a good heart—Crusader Behmen has mown down Muslim infidels by the thousands. But an atrocity involving the church-sponsored slaughter of innocent women and children causes a change of heart in both, and the friends go AWOL.

They find the territories through which they pass, as they make their way home, ravaged by the plague. (This is a somewhat surprising turn of events, given that, in the real world, the end of the last crusade preceded the outbreak of the Black Death in Europe by more than 70 years. But we digress.)

Eventually identified as deserters from the sacred cause, Behmen and Felson are brought before the horribly disfigured and dying Cardinal D'Ambroise (Christopher Lee) for judgment. He threatens them with incarceration—and perhaps worse—unless they agree to escort a young unnamed prisoner (Claire Foy) to a distant abbey so she can stand trial as a witch whose black magic has given rise to the fatal pest.

Accompanied by Father Debelzaq (Stephen Campbell Moore), the priest responsible for the accused sorceress' interrogation (we're shown the grim scars that process has produced), and by a motley crew of others, the pals set out on their rather less than epic journey.

Amid these proceedings, Schut and Sena dredge up every hoary cliche about the period from a con man pilloried for selling bogus relics (Stephen Graham) to a procession of flagellants scourging themselves to repel pestilence. Later, Debelzaq proves himself so ignorant of his faith that he begins Christianity's most famous prayer by saying, "Our Lord who art in heaven."

Not surprisingly, then, in the climactic showdown between good and evil, Debelzaq and the others rely not on the Bible or the established rituals of the church but on a fictional version of an occult text called the Key of Solomon. As recited onscreen, this turns out to consist largely of Latin gibberish with some phrases from the extraordinary form of the liturgy thrown in for no very apparent reason.

One need not be blind to the serious shortcomings that characterized the human element of the church during the Middle Ages to recognize as gross caricature its portrayal here as a superstitious, oppressive force against which this forgettable action outing's central figures nobly rebel.

The film contains pervasive anti-Catholic bias, occult themes, brief partial nudity, much -- mostly bloodless -- violence, some gruesome images, at least one use of the S-word and a few crass terms. The Catholic News Service classification is O—morally offensive. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
John Mulderig is on the staff of Catholic News Service.



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John Bosco: John Bosco’s theory of education could well be used in today’s schools. It was a preventive system, rejecting corporal punishment and placing students in surroundings removed from the likelihood of committing sin. He advocated frequent reception of the sacraments of Penance and Holy Communion. He combined catechetical training and fatherly guidance, seeking to unite the spiritual life with one’s work, study and play. 
<p>Encouraged during his youth to become a priest so he could work with young boys, John was ordained in 1841. His service to young people started when he met a poor orphan and instructed him in preparation for receiving Holy Communion. He then gathered young apprentices and taught them catechism. </p><p>After serving as chaplain in a hospice for working girls, John opened the Oratory of St. Francis de Sales for boys. Several wealthy and powerful patrons contributed money, enabling him to provide two workshops for the boys, shoemaking and tailoring. </p><p>By 1856, the institution had grown to 150 boys and had added a printing press for publication of religious and catechetical pamphlets. His interest in vocational education and publishing justify him as patron of young apprentices and Catholic publishers. </p><p>John’s preaching fame spread and by 1850 he had trained his own helpers because of difficulties in retaining young priests. In 1854 he and his followers informally banded together, inspired by St. Francis de Sales [January 24]. </p><p>With Pope Pius IX’s encouragement, John gathered 17 men and founded the Salesians in 1859. Their activity concentrated on education and mission work. Later, he organized a group of Salesian Sisters to assist girls.</p> American Catholic Blog How do you expect to reach your own perfection by leading someone else’s life? His sanctity will never be yours; you must have the humility to work out your own salvation in a darkness where you are absolutely alone.

 
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