WELCOME !


WELCOME! CrossCurrents aims to provoke thought and enrich faith by interpreting current events in the light of Catholic tradition. I hope you find these columns both entertaining and clarifying. Your feedback and comments are welcome! See more about me and my work at http://home.comcast.net/~bfmswain/onlinestorage/index.html or contact me directly at bfswain@juno.com NOTE: TO READ OR WRITE COMMENTS, CLICK ON THE TITLE OF A POST.

Sunday, January 26, 2020

#478: Getting “The Two Popes” Right



By all means see the Netflix film “The Two Popes,”
 ---but see it for the wonderful thing it really is.
George Weigel takes pride presenting himself as someone who has known several popes, so he rightly claims to be “credentialed” for inside insight into recent papal history.
But a film critic he is not.
And even professional critics sometimes make the mistake he commits in his review of the movie “the Two Popes,” criticizing a film for what it is NOT rather than analyzing what it IS. Sadly, this leaves Weigel—and others like him—unable to appreciate the film before his eyes. He saw “baloney on steroids,” and missed what was actually on the screen: a delightfully plausible parable aimed at inspiring the viewer.
Weigel begins by saying the film claims to be “based on actual facts.” This is not true. The screen title at the movie's start reads “Inspired by true events”—which is an entirely different matter. Both the screenwriter and the director have explained that they wanted to make the movie because of their admiration for Pope Francis, combined with being intrigued by the events surrounding the resignation of Benedict XVI.  They asked themselves: “What if these two were to arrange something together?”
Weigel says the movie reveals more about the screenwriter and the director than about the historical figures. Well, duh—the whole point of film art is to express the creators’ vision. Weigel makes the common mistake of testing a film about historical figures for its historical accuracy. But this is not a documentary, or even a docudrama.
Could anyone really think that images of the College of Cardinals entering the conclave to the tune of Abba’s “Dancing Queen” could be about documenting events? Or that setting Benedict’s announcement of resignation to three different versions of the Beatles’ tune “Blackbird” aimed to serve historical accuracy?
The Filmmakers are exercising what is generally referred to as “artistic license”; typically they care less about veracity and more about verisimilitude. Yet they land on some verities.
So they contrive a two-day meeting in which both men change by coming to terms with their differences. My personal reaction: I left feeling, “Wouldn’t it be wonderful if this had happened—and even better if such things happened more often!” I took it as a parable for our time, a time in which people of differing views –in our Church, in our communities, in our nation, in our world--have stopped listening to each other. Imagine the Church as a public model inspiring people to resolve their differences!

Weigel is entitled to consider the film’s characters as “stick-figures,” despite the screenplay being nominated for both a Golden Globe and an Oscar. But his comparison of “one–dimensional portrayals of popes” with Xavier Rynne’s New Yorker coverage of  Vatican Council II is a simple category mistake—the proverbial “apples and oranges.” While Rynne claimed to be reporting, these filmmakers openly admit to inventing. One can search numerous sites detailing what is historical and what is apocryphal in the film.
Still, the characters' positions on issues are consistent with the public record. Weigel complains that the film misrepresents Benedict’s attachment to the papacy, quoting him that “I am not a man of governance.” And while it is true the film shows him urging cardinals to support him at the conclave in 2005, it also has him arguing for his own resignation by saying “I’m a scholar, not a manager.”
And while Weigel sees “self-knowledge, spiritual detachment, and churchmanship” in Benedict, he ignores how the film portrays precisely those qualities, thus humanizing a figure who has too often been stereotyped in the media as an ogre. Weigel writes as if the film were a hatchet job on Benedict. But every single viewer I’ve spoken with has come away finding Benedict a much warmer, more admirable character.
Weigel complains that the movie portrays the 2013 election of Francis as fueled by a desire for a reform movement, a course change from John-Paul II and Benedict back to engagement with the world. What motivated the voters is hard to prove, but there is ample evidence from Francis’ own public statements that he himself took his election as a mandate to make changes in the Church’s approach to the world—and that he took much of his inspiration from the two popes who preceded John-Paul II and Benedict:
Vatican II, inspired by Pope Paul VI and John, decided to look to the future with a modern spirit and to be open to modern culture. The Council Fathers knew that being open to modern culture meant religious ecumenism and dialogue with non-believers. But afterwards very little was done in that direction. I have the humility and ambition to want to do something.
Weigel further argues that the real motive behind Francis’ election was to choose “a tough minded, no-nonsense reformer who would quickly and decisively clean house"--that is, the Vatican itself, especially the curia. He implies the movie ignores this.
He seems to have missed the scenes when Benedict complains about the curia, pleads his inability to fix things (“I have lost,” he says) or when Cardinal Bergoglio (later Pope Francis) recounts how he had already cleaned up his ecclesiastical house in Argentina. When he expresses his intent to do the same in Rome, Benedict says "Well, good luck with that!"
Sadly, Weigel simply ignores a large part of the movie showing Bergoglio's own path to the priesthood, as well as his struggles as a leader. But viewers who saw the Oscar-winning films “City of God” and “The Constant Gardener” will recognize in these flashback scenes the world-engaging imagery of director Fernando Meirelles, full of vibrant third-world street scenes and the chaos of poor people’s lives. These scenes reveal that what inspired Meirelles to make this new film was precisely Francis’ career-long engagement with struggling people.
Finally Weigel calls the movie “fake news” and states his desire to “clarify the historical record.” But people who react to this movie as if it were (or claimed to be) a historical record of what actually happened have already failed to see the film on the screen. They just don’t get it. It’s their loss.
Oh, and I nearly forgot to mention the one point on which Weigel and I agree: the film is quite funny! In fact, several critics have called it a “buddy comedy”—and they are closer to the truth than Weigel.

The closing scene of the two popes watching the 2014 Argentina-Germany World Cup Final together may well be apocryphal, like most of the film—but the accompanying documentary footage of the Two Popes warmly embracing is not. When you see “the Two Pope” on Netflix, take it for what it really is: a hopeful fiction of how powerful but opposed leaders might come to see each other as (to quote Benedict's character) “only human”-- and even to become friends. 

© Bernard F. Swain PhD 2020

No comments:

Post a Comment