Most Helpful Customer Reviews
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80 of 83 people found the following review helpful:
5.0 out of 5 stars
Quinn and Werner make this a winner, June 22, 2002
This epic film has a few bumpy moments, but overall, it's vastly entertaining, with its fascinating cast, interesting premise, excellent cinematography and art direction.
Anthony Quinn is fabulous as the Russian Pope. It's a powerful portrayal, and not the type of role one would normally associate with him. Oskar Werner, in a part based on Teilhard de Chardin, is absolutely superb.Other notable performances come from Laurence Olivier (as the Soviet Premier), John Gielgud (former Pope), Leo McKern and Vittorio de Sica (Cardinals), and Arnoldo Foa (the Pope's valet).
The part of a journalist (David Janssen), is used as a narrator, to move the plot along, and explain certain Vatican procedures, like how a new Pope is elected. I only wish less time had been spent on his petty romantic problems...the film feels more like an "Airport" movie while these scenes are taking place. This is a sprawling 60's Hollywood treatment of Morris West's best seller, and I think it succeeds. It's thought-provoking, good for several viewings, and Quinn and Werner are riveting.
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21 of 22 people found the following review helpful:
4.0 out of 5 stars
Fascinating Glimpse At Papal Succession, May 1, 2005
With the recent passing of Pope John Paul II--and the subsequent Conclave of Cardinals to select his successor--this film came to mind. Although it was years since I've seen THE SHOES OF THE FISHERMAN, I was able to view it recently, and the pageantry, tradition, and ritual of the Conclave overwhelmed and impressed me once again.
Anthony Quinn gives a remarkable performance as Father Kiril Lakota, a Russian political prisoner freed by the Kremlin and dispatched to the Vatican, where he becomes a Cardinal. Quinn's Kiril is soft-spoken and humble, yet all his years of suffering in Siberia have convinced him the Church must champion human rights--even if blood is shed for that very cause. His subtle teachings impress his fellow Cardinals, and, when the current Pope dies, after several insufficient votes during the Conclave, Kiril becomes a darkhorse candidate and is eventually selected--despite his vigorous protestations. Thus concludes the first half of this film, which was fascinating.
The second half of the movie deals with Pope Kiril's coronation and infant papacy; here, unfortunately, the film becomes a bit too farfetched. (Example: On the evening of his selection as Pope, Kiril sneaks out of the Vatican and wanders the streets of Rome. Another example: Kiril's brokerage of a "deal" between Russia and China to avoid a nuclear war.) The Cold War was certainly topical when this film was made in 1968, yet now much of the plot of the second half comes across as contrived and banal--especially Pope Kiril's speech at St. Peter's Square on the day of his coronation.
Despite these flaws, THE SHOES OF THE FISHERMAN is grand drama and allows the viewer access to the Vatican behind closed doors. The cast has considerable star power, including Sir Laurence Olivier and Sir John Gielgud. Oskar Werner provides an interesting subplot in his portrayal as Father David Telemond, a Vatican scholar under fire for his unorthodox beliefs. The debate and dialogue between this character and his Vatican counterparts pertaining to a cosmological Supreme Being is absolutely riveting. This film is definitely worth a look for those interested in ecclesiastical study.
--D. Mikels
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11 of 11 people found the following review helpful:
4.0 out of 5 stars
A wonderful film, rich in detail, with a brilliant cast., February 1, 1999
By A Customer
This film is on my personal list of all-time favorites. Anthony Quinn portrays a decent, thoughtful, and forward-looking pope who eventually overcomes his own self-doubts concerning his election and coronation, which takes place within a backdrop of possible conflict between China, the USSR, and the United States. His attitude toward the young priest who assists him is refreshing in the fact that, while the priest has been barred from teaching and writing due to his questionable views, Pope Kiril still considers him a close personal friend and keeps him in his official family. Kiril's momentous decision at the end of the film regarding the role of the Church is somewhat far-fetched but nevertheless satisfying.The detail of the sets and costumes is brilliant. The scenes featuring the conclave in the Sistine Chapel are some of my favorites, as they really show in some detail what the election of a pope is like (the rules regarding election have been changed somewhat since the film's release) I remember reading somewhere that the director asked permission to film in the real Sistine Chapel, but was refused. The walls of the Sistine Chapel set were composed largely of cardboard. I am uncertain about the accuracy of that account, but it doesn't seem too unbelievable. The only disappointing parts of the film involve Janssen's TV commentator role. They are silly for the most part (revolving around his marital problems), and seem to serve no purpose but to set a background for the moment when his estranged wife runs into Pope Kiril, who is incognito, in the streets of Rome (you'll see what I mean when you watch the film). I've seen the film many times, and I usually fast-forward through the scenes of marital discord. When looking for a good laugh, I'll play the whole thing through. Laurence Olivier is excellent in the role of the Soviet premier and John Gielgud also shines as Kiril's predecessor, the fictitious Pius XIII (identified only by the name on his fisherman's ring which is shown for a split second, and is destoyed by the cardinals after his death) All in all, this movie is an enjoyable trip through the Vatican at the height of the Cold War.
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