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ON FAITH & MEDIA View Comments

The Raven

By
John P. McCarthy
Source: Catholic News Service


Luke Evans stars in a scene from the movie "The Raven."
The macabre musings of Edgar Allan Poe have been adapted for the screen numerous times. In the latest instance, Baltimore's most famous literary son is not only the central character—he's also credited with being the progenitor of the horror movie genre.

While the makers of "The Raven" (Relativity) articulate the latter idea near the end of the proceedings, and only in passing, they're clearly banking on it animating their tale. Instead, casting Poe as the forerunner of, say, low-budget horror director Roger Corman only underscores our sense that the author's oeuvre is being picked at and that the film is straining to bring gravitas and wit to its own workaday mayhem and melancholia.

The grotesquery presented renders "The Raven" unsuitable for a majority of moviegoers and its failure to surprise will disappoint adults who self-identify as horror fans. Perhaps more unsavory than the images and scenarios themselves, however, is the underlying assumption that the reading or viewing public is naturally drawn toward morbidity, gore and sadism.

Either way, the titular bird's associations with death and scavenging are fully borne out.

A title card at the outset states we'll learn how the real-life Poe came to be discovered near death on a Baltimore park bench in 1849. This isn't the only mystery, real or fictional, that fails to be solved satisfactorily.

Short of funds and inspiration, the middle-aged Poe (John Cusack) scrounges for work to pay his bar bills and, more nobly, to put himself in a position to wed his high-society beloved Emily (Alice Eve). Yet Poe's prospective father-in-law, Captain Hamilton (Brendan Gleeson), has no intention of letting this caustic, gloomy and besotted scribbler marry his daughter.

Perversely enough, Poe's redemption will be achieved through a series of ghastly murders inspired by his stories. A serial killer painstakingly enacts crimes that Poe has described on paper, gruesomely claiming innocent lives while toying with the author. Detective Fields (Luke Evans), the police officer assigned to investigate, enlists Poe's help in catching the perpetrator, who raises the stakes by kidnapping Emily.

The plot turns are nothing if not predictable and director James McTeigue doesn't exhibit sufficient finesse to smooth over logical wrinkles. Despite a promising premise, scant frights and little suspense are to be found in the campy, ill-formed piece.

The game and always likable Cusack brings a gothic hipness to the role and yet, matching the screenplay, the performances are overripe across the board. Injecting enough purple bombast to fill the Chesapeake Bay fails to enliven this cadaverous entertainment.

At one point, Poe bellows, "Is imagination now a felony?" While it doesn't warrant incarceration, there's no doubt "The Raven" is guilty of displaying too little of that valuable commodity.

The film contains frequent and explicit grisly imagery and violence, some profanity, one instance of rough language, much crude and crass talk and several instances of sexual innuendo. The Catholic News Service classification is L—limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R—restricted. Under 17 requires accompanying parent or adult guardian.

*****
John P. McCarthy is a guest reviewer for Catholic News Service.



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Hildegard of Bingen: 
		<p>Abbess, artist, author, composer, mystic, pharmacist, poet, preacher, theologian--where to begin describing this remarkable woman?</p>
		<p>Born into a noble family, she was instructed for ten years by the holy woman Blessed Jutta. When Hildegard was 18, she became a Benedictine nun at the Monastery of St. Disibodenberg. Ordered by her confessor to write down the visions that she'd received since the age of three, Hildegard took ten years to write her <em>Scivias</em> (<em>Know the Ways</em>). Pope Eugene III read it and in 1147 encouraged her to continue writing. Her <em>Book of the Merits of Life</em> and <em>Book of Divine Works</em> followed. She wrote over 300 letters to people who sought her advice; she also composed short works on medicine and physiology, and sought advice from contemporaries such as St. Bernard of Clairvaux.</p>
		<p>Hildegard's visions caused her to see humans as "living sparks" of God's love, coming from God as daylight comes from the sun. Sin destroyed the original harmony of creation; Christ's redeeming death and resurrection opened up new possibilities. Virtuous living reduces the estrangement from God and others that sin causes. </p>
		<p>Like all mystics, she saw the harmony of God's creation and the place of women and men in that. This unity was not apparent to many of her contemporaries. </p>
		<p>Hildegard was no stranger to controversy. The monks near her original foundation protested vigorously when she moved her monastery to Bingen, overlooking the Rhine River. She confronted Emperor Frederick Barbarossa for supporting at least three antipopes. Hildegard challenged the Cathars, who rejected the Catholic Church claiming to follow a more pure Christianity.</p>
		<p>Between 1152 and 1162, Hildegard often preached in the Rhineland. Her monastery was placed under interdict because she had permitted the burial of a young man who had been excommunicated. She insisted that he had been reconciled with the Church and had received its sacraments before dying. Hildegard protested bitterly when the local bishop forbade the celebration of or reception of the Eucharist at the Bingen monastery, a sanction that was lifted only a few months before her death. </p>
		<p>In 2012, Hildegard was canonized and named a Doctor of the Church by Pope Benedict XVI.</p>
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