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ON FAITH & MEDIA View Comments

Winter's Tale

By
John Mulderig
Source: Catholic News Service


Jessica Brown Findlay and Colin Farrell star in a scene from the movie "Winter's Tale."
What are some insights moviegoers will gain by viewing the sappy supernatural love story "Winter's Tale" (Warner Bros.)?

That the souls of the deceased become stars, that everybody is destined to achieve a miracle and that, if you're lucky, a snow-white flying horse will appear on the scene just when you need his services most.

That's what happens to the film's protagonist, Peter Lake (Colin Farrell). But then again, Peter's life has been rather unusual from the start: When his immigrant parents were turned away from America's shores for flunking the medical exam at Ellis Island, they did their best to secure their infant son's future by setting him adrift in a miniature boat on the waters of New York Harbor.

Did baby Peter's craft capsize into the polluted waves? Of course not, because the movie's version of early 20th-century Gotham is a fantastical place where such un-poetic events are verboten.

Flash-forward a couple of decades and circumstances have forced grown-up Peter, a would-be mechanic, to turn thief. Worse yet, he's on the run from his former mentor, demonic crime lord Pearly Soames (Russell Crowe). But no sooner do Pearly and his gang of thugs have Peter cornered, than his personal Pegasus appears for the first time and whisks him to safety. Equus ex machina, as it were.

It's no wonder that Peter is soon letting the steed guide his burglarizing choices. And a good thing too, as this leads him to the Fifth Avenue home of newspaper magnate Isaac Penn (William Hurt), where his larceny is interrupted by the unexpected presence in the house of Isaac's sequestered invalid of a daughter, comely but consumptive Beverly (Jessica Brown Findlay).

Peter only has to take a single gander at Beverly—and overhear her playing Brahms on the pianoforte—to know she's The One. Fortunately for him, brink-of-the-grave Beverley turns out to be rather unflappable. So much so that, in a trice, she's offering the Irish-accented intruder a nice cup of tea. Quite hospitable, given the circumstances.

On the subject of that brogue, which the County Dublin-born Ferrell certainly comes by honestly, precisely how Peter should have acquired it is a bit of a mystery. The opening scenes suggest his mom and dad hailed from Russia, while a cameo by Graham Greene in the approximate persona of Peter's foster father indicates that he was raised by Native Americans.

Perhaps he picked it up listening to John McCormack records?

Be that as it may, pity our poor unlikely couple. Not only is the Grim Reaper out to thwart their bliss; Pearly is too. Most decidedly opposed to all forms of happiness is scar-faced Pearly. And he's got himself no lesser an ally in his down-with-smiles crusade than Satan (played by a very familiar but jaw-droppingly miscast star).

The nature of the picture's source material invites speculation about what went wrong, more generally, on the way to the big screen. All audience members who haven't read Helprin's book may know for sure is that the characters in writer-director Akiva Goldsman's adaptation of it spout sentimental twaddle. They also subscribe to a version of metaphysics that might have been lifted from a Hallmark greeting card.

Feverish romanticism and the exaltation of erotic love pave the way to a scene glamorizing an objectively sinful bedroom encounter. Taken together with the script's surfeit of noncommittal navel-gazing—do we become stars after one lifetime or a thousand?—as well as the additional elements listed below, that interlude of lush carnality marks "Winter's Tale" as unsuitable for youngsters.

The film contains some harsh but bloodless violence, semi-graphic premarital sexual activity, brief partial nudity, a couple of uses of profanity and at least one instance each of crude and crass language. The Catholic News Service classification is A-III—adults. 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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Pio of Pietrelcina: In one of the largest such ceremonies in history, Pope John Paul II canonized Padre Pio of Pietrelcina on June 16, 2002. It was the 45th canonization ceremony in Pope John Paul's pontificate. More than 300,000 people braved blistering heat as they filled St. Peter's Square and nearby streets. They heard the Holy Father praise the new saint for his prayer and charity. "This is the most concrete synthesis of Padre Pio's teaching," said the pope. He also stressed Padre Pio's witness to the power of suffering. If accepted with love, the Holy Father stressed, such suffering can lead to "a privileged path of sanctity." 
<p>Many people have turned to the Italian Capuchin Franciscan to intercede with God on their behalf; among them was the future Pope John Paul II. In 1962, when he was still an archbishop in Poland, he wrote to Padre Pio and asked him to pray for a Polish woman with throat cancer. Within two weeks, she had been cured of her life-threatening disease. </p><p>Born Francesco Forgione, Padre Pio grew up in a family of farmers in southern Italy. Twice (1898-1903 and 1910-17) his father worked in Jamaica, New York, to provide the family income. </p><p>At the age of 15, Francesco joined the Capuchins and took the name of Pio. He was ordained in 1910 and was drafted during World War I. After he was discovered to have tuberculosis, he was discharged. In 1917 he was assigned to the friary in San Giovanni Rotondo, 75 miles from the city of Bari on the Adriatic. </p><p>On September 20, 1918, as he was making his thanksgiving after Mass, Padre Pio had a vision of Jesus. When the vision ended, he had the stigmata in his hands, feet and side. </p><p>Life became more complicated after that. Medical doctors, Church authorities and curiosity seekers came to see Padre Pio. In 1924 and again in 1931, the authenticity of the stigmata was questioned; Padre Pio was not permitted to celebrate Mass publicly or to hear confessions. He did not complain of these decisions, which were soon reversed. However, he wrote no letters after 1924. His only other writing, a pamphlet on the agony of Jesus, was done before 1924. </p><p>Padre Pio rarely left the friary after he received the stigmata, but busloads of people soon began coming to see him. Each morning after a 5 a.m. Mass in a crowded church, he heard confessions until noon. He took a mid-morning break to bless the sick and all who came to see him. Every afternoon he also heard confessions. In time his confessional ministry would take 10 hours a day; penitents had to take a number so that the situation could be handled. Many of them have said that Padre Pio knew details of their lives that they had never mentioned. </p><p>Padre Pio saw Jesus in all the sick and suffering. At his urging, a fine hospital was built on nearby Mount Gargano. The idea arose in 1940; a committee began to collect money. Ground was broken in 1946. Building the hospital was a technical wonder because of the difficulty of getting water there and of hauling up the building supplies. This "House for the Alleviation of Suffering" has 350 beds. </p><p>A number of people have reported cures they believe were received through the intercession of Padre Pio. Those who assisted at his Masses came away edified; several curiosity seekers were deeply moved. Like St. Francis, Padre Pio sometimes had his habit torn or cut by souvenir hunters. </p><p>One of Padre Pio’s sufferings was that unscrupulous people several times circulated prophecies that they claimed originated from him. He never made prophecies about world events and never gave an opinion on matters that he felt belonged to Church authorities to decide. He died on September 23, 1968, and was beatified in 1999.</p> American Catholic Blog In times of intense loss and grief, we take our place with Mary as she embraces all our grief in her own as she is silently holding in her arms the stark presence of our suffering God in the lifeless body of her Son.

 
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