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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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Peter of Alcantara: Peter was a contemporary of well-known 16th-century Spanish saints, including Ignatius of Loyola and John of the Cross. He served as confessor to St. Teresa of Avila. Church reform was a major issue in Peter’s day, and he directed most of his energies toward that end. His death came one year before the Council of Trent ended. 
<p>Born into a noble family (his father was the governor of Alcantara in Spain), Peter studied law at Salamanca University and, at 16, joined the so-called Observant Franciscans (also known as the discalced, or barefoot, friars). While he practiced many penances, he also demonstrated abilities which were soon recognized. He was named the superior of a new house even before his ordination as a priest; at the age of 39, he was elected provincial; he was a very successful preacher. Still, he was not above washing dishes and cutting wood for the friars. He did not seek attention; indeed, he preferred solitude.</p><p>Peter’s penitential side was evident when it came to food and clothing. It is said that he slept only 90 minutes each night. While others talked about Church reform, Peter’s reform began with himself. His patience was so great that a proverb arose: "To bear such an insult one must have the patience of Peter of Alcantara."</p><p>In 1554, Peter, having received permission, formed a group of Franciscans who followed the Rule of St. Francis with even greater rigor. These friars were known as Alcantarines. Some of the Spanish friars who came to North and South America in the 16th, 17th and 18th centuries were members of this group. At the end of the 19th century, the Alcantarines were joined with other Observant friars to form the Order of Friars Minor.</p><p>As spiritual director to St. Teresa, Peter encouraged her in promoting the Carmelite reform. His preaching brought many people to religious life, especially to the Secular Franciscan Order, the friars and the Poor Clares.</p><p>He was canonized in 1669.</p> American Catholic Blog Remember the widow’s mite. She threw into the treasury of the temple only two small coins, but with them, all her great love…. It is, above all, the interior value of the gift that counts: the readiness to share everything, the readiness to give oneself. —Pope John Paul II

 
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