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ON FAITH & MEDIA View Comments

Priest

By
John Mulderig
Source: Catholic News Service

"To go against the church is to go against God." Such is the slogan of the distorted version of the Catholic Church, which is portrayed as holding Big Brother-style sway over society in the malign futuristic horror exercise "Priest" (Screen Gems).

Not surprisingly, everything in this screen version of Min-Woo Hyung's series of graphic novels—adapted by director Scott Stewart and screenwriter Cory Goodman—sends the opposite message: to rebel against the corrupt, evil force of the totalitarian church is a duty, a source of honor and the beginning of individual liberation.

Discovering that supposed truth is the otherwise nameless main character of the title (Paul Bettany). A tough veteran of the apocalyptic war which saw the church helping humanity to defeat a race of brutally aggressive vampires, this consecrated warrior, like all his comrades, has fallen on hard times since the coming of peace.

Not so his religious superiors—a council of elderly gents somewhat absurdly termed the Monsignors —who have parlayed the successful outcome of the crusade against bloodsuckers into an iron grip on all aspects of life. As led by Msgr. Orelas (Christopher Plummer -- a long way from his days as the devout Baron von Trapp) they specialize in suppressing disagreeable realities.

So when Priest requests permission to go to the rescue of his niece Lucy (Lily Collins), who has been abducted during a fresh outbreak of bloodsucker violence, the Monsignors turn him down flat. The war is over; the victory was absolute. To admit that Lucy has been kidnapped by vein-drainers would be to shake the populace's confidence in the church's ability to provide them with perfect security.

But off on his quest Priest goes nonetheless. Along the way, he allies himself with Lucy's boyfriend Hicks (Cam Gigandet) and gains the help of a priestess called, um, Priestess (Maggie Q), whose disenchantment with the hierarchy is similar to his own. Together they battle to thwart the ambitions of Black Hat (Karl Urban), a new, seemingly invincible chieftain of the undead.

Incidental to the plot, but not to the feelings of Catholic viewers, is the borderline blasphemous depiction of sacramental practice. Thus, confession via electronic screens is one method of enforcing clerical control; Mass prayers drawing parallels between the blood of Christ and the ordinary variety sought by the vamps is another.

As Priest's loyalties shift, he half-heartedly recites the act of contrition, saying in effect, that he would like to renounce sin, "but I can't." There is also a disturbing appropriation of cherished Christian symbols to this project's often violent ends, with both crosses and rosaries serving, at various times, as weapons in combat.

The film contains pervasive anti-Catholicism, sometimes approaching sacrilege; much morbid, occasionally bloody violence; at least one use of profanity and of the F-word; and a few crude and 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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Jeanne Jugan: 
		<p>Born in northern France during the French Revolution—a time when congregations of women and men religious were being suppressed by the national government, Jeanne would eventually be highly praised in the French academy for her community's compassionate care of elderly poor people.</p>
		<p>When Jeanne was three and a half years old, her father, a fisherman, was lost at sea. Her widowed mother was hard pressed to raise her eight children (four died young) alone. At the age of 15 or 16, Jeanne became a kitchen maid for a family that not only cared for its own members, but also served poor, elderly people nearby. Ten years later, Jeanne became a nurse at the hospital in Le Rosais. Soon thereafter she joined a third order group founded by St. John Eudes (August 19).</p>
		<p>After six years she became a servant and friend of a woman she met through the third order. They prayed, visited the poor and taught catechism to children. After her friend's death, Jeanne and two other women continued a similar life in the city of Saint-Sevran. In 1839, they brought in their first permanent guest. They began an association, received more members and more guests. Mother Marie of the Cross, as Jeanne was now known, founded six more houses for the elderly by the end of 1849, all staffed by members of her association—the Little Sisters of the Poor. By 1853 the association numbered 500 and had houses as far away as England.</p>
		<p>Abbé Le Pailleur, a chaplain, had prevented Jeanne's reelection as superior in 1843; nine year later, he had her assigned to duties within the congregation, but would not allow her to be recognized as its founder. He was removed from office by the Holy See in 1890. </p>
		<p>By the time Pope Leo XIII gave her final approval to the community's constitutions in 1879, there were 2,400 Little Sisters of the Poor. Jeanne died later that same year, on August 30. Her cause was introduced in Rome in 1970, and she was beatified in 1982 and canonized in 2009. </p>
		<p> </p>
American Catholic Blog A mother journeys with her children all the way through their lives. She does not abandon her maternal mission when they are grown, though that mission certainly takes on different characteristics. The Church, too, accompanies us every step of the way. While baptism gives us birth into the Church, the other sacraments in their own way also nurture our souls as needed.

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