Category Archives: Archived Movies


Films that take religious issues seriously are so rare that one
has to be tolerant even of those that are deeply flawed. It’s
easy, on the one hand, to dismiss a travesty like “Stigmata”
for the trash that it is. On the other, one can’t be blinded
the obvious sincerity of “The Third Miracle” into ignoring the
fact that it has some serious problems, too.

The plot is concerned with an investigation by the Catholic
Church of the possible sanctity of a recently-deceased Chicago
housekeeper; the probe is carried out by a priest (Ed Harris)
on behalf of the local diocese, and his positive finding is in
time challenged by a Vatican archbishop who takes the role of
“devil’s advocate” opposing the proposed canonization.

This central element of “The Third Miracle” is handled very
well. The treatment of the parish where the marvels attributed
to the candidate are occurring is nicely shaded, with the
pastor and the believers portrayed without the crude
exaggeration one often finds in such circumstances. The
seriousness of the process, moreover, is expertly caught.

But once all that is said, the fact remains that what might
have been a powerfully moving film has unfortunately been
compromised by recourse to some very obvious and unconvincing
dramaturgy. First, the investigating priest, or postulator in
the ecclesiastical lexicon, is saddled with a seemingly
inevitable “crisis of faith” which leads him into a romantic
entanglement with the agnostic daughter of the candidate for
canonization. This is frankly a lazy and rather offensive
device to insert some conflict into the larger story, and it’s
completely unnecessary, too. Happily the performance of Ed
Harris, as the troubled priest, is so elementally strong that
it allows the picture to get past this difficulty less maimed
than one might have expected. As the daughter, on the other
hand, Anne Heche is barely tolerable, overemoting dreadfully;
but then, it’s hard to imagine that anyone could have dealt
successfully with so thinly-constructed a characer.

A second major flaw lies in the figure of the Vatican bishop
sent to dispute the postulator’s finding. He’s written as so
smug and officious–you can tell he’s a worldly, false-hearted
prelate, it seems, from the fact that he likes good food and
listens to classical music–that he becomes a caricature of
churchly imperfection. And he’s played by Armin Mueller-Stahl
with such venomous snideness that you’d think he was
auditioning for the role of Snake in the Garden of Eden.

There are other difficulties, too, mostly arising from the
very literary quality of the material, which probably worked
better on the page than it does on the screen (the final
revelation involving a flashback to World War II Europe, for
instance, makes sense, but can’t help seeming artificial in
cinematic terms, though in a novel it might work perfectly
well). But on the whole director Agnieszka Holland has
managed to play to the script’s strengths while concealing its
weaknesses as much as possible. Holland has had a varied
career, with works ranging from the superb “Europa Europa” and
“The Secret Garden” to the unjustly neglected 1997 version of
“Washington Square” to the abominable “Total Eclipse.” Here
she’s managed to create a film which, while imperfect, at least
tries to deal with important themes in an honest and symathetic

“The Third Miracle” has its faults, therefore, but its basic
integrity of vision makes it one of the few pictures on a
religious theme that one can take seriously. It neither offers
easy answers nor cops out at the end, and so becomes a rare
thing, an admirable if flawed cinematic attempt to consider
the possibility of divine intervention in human affairs.



The thing one will note first about Bart Freundlich’s sophomore feature is how beautiful it looks. Each shot is so carefully composed and artfully shot in brilliant widescreen and luminous colors that the result seems like a succession of glossy photos in a up-scale magazine. The problem is that it’s as devoid of content as such magazines inevitably are. “World Traveler” is a pretty but empty portrait of a vacuous character having what amount to an rather early midlife crisis that causes him to abandon his family and tour the country, leaving a succession of women with whom he has brief encounters in his wake; and its lack of narrative urgency, combined with its opaque message, makes it an irritating journey indeed. Like Freundlich’s first film, “The Myth of Fingerprints,” it will leave you impressed by the director’s visual sense but, in the end, emotionally unmoved.

Billy Crudup, looking and sounding rather like Jim Carrey trying to do a straight dramatic role, stars as Cal, a blankly handsome architect who unaccountably walks out on his wife and three-year old son (as well as their admittedly sterile New York apartment) and goes on a cross-country road trip. His first stop is a Pennsylvania town, where he takes a construction job, bonds with fellow worker Cal (Clevant Derricks) and engages none too happily with waitress Delores (Karen Allen). On the move again, he takes up for a time with a winsome college girl, whom he abandons at an airport, and for a longer while with a troubled woman named Dulcie (Julianne Moore), who’s in need of a ride to retrieve her son from her estranged husband. This episode ends with a dramatically inept twist that even the talented Moore can’t pull off, and shortly Cal is on his own again, eventually reaching his destination–an Oregon lake house where the time he spends with a fellow called Richard (David Keith) is meant to explain the motive behind his trip by bringing things full circle. The message seems to be that every person has to come to terms with his past, but needn’t be straitjacketed by it.

For the most part “World Traveler” is a maddeningly meandering movie, with pretensions to profundity that it never earns. It has some good moments–the confrontation that Cal has with a loquacious high school classmate (James Le Gros) comes off especially well–but ordinarily it’s just sluggish and opaque. Crudup doesn’t help matters with his bland, faceless performance. Freundlich and he both rely far too much on the actor’s good looks as a kind of dramatic shorthand; the narcissism reaches the point of absurdity when a couple of children approach Cal to inquire whether he’s a movie star. The normally reliable Moore is badly used, but Derricks, Allen, Mary McCormack and especially Le Gros are more successful. The script, however, gives them all thin gruel indeed.

For all the driving entailed in “World Traveler,” the picture doesn’t get very far or go very deep.