# Con la Iglesia hemos topado: sacerdotes de cine

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 25 Mar 2024, 44 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59159046/lloviendo_sacerdotes.mp3

En el programa de hoy de Lloviendo cine celebramos de la manera más laica posible la semana de pasión. Y lo hacemos repasando aquellas películas en las que aparecen como protagonistas los representantes de la Iglesia católica romana: sacerdotes, santos padres, obispos y demás familia desfilan en Lloviendo cine ataviados de sus mejores galas. Las músicas del podcast proceden de: https://musopen.org/music/3879-st-matthews-passion-bwv-244/ https://musopen.org/music/10953-stabat-mater/ Membeth, Public domain, via Wikimedia Commons

## Transcript

[0:26] Spring is here. The blood is damaged and begins a passionate week. Who
[0:35] could give more, seeing money, why here begins one more show of your
[0:41] favorite podcast, I watching cinema, to which you are all pertinent inconveniently invited.
[0:47] You don' t need any kind of entry, you don' t
[0:51] need any permission. The doors are open of opinion and what we are going
[1:10] to talk about in today' s program of watching cinema, because we are
[1:15] going to celebrate in our way this week of passion by taking advantage of the
[1:22] cinema, but in a way as secular as possible, because we could throw
[1:29] along several paths when it comes to this week Santa Católica, apothelic and Roman,
[1:37] always from the cinematographic point of view, you already know how some paths
[1:42] of inscrutables turn out. How we are going to celebrate, because this week
[1:48] is Holy of Passion, because we are going to draw on films in which
[1:55] two points appear, priests, priests, priests, clergy, chaplains or bishops,
[2:01] archbishops, cardinals, classification or, as you may say, military style.
[2:06] No, we don' t know it, you forgive also parents,
[2:12] saints, sacristan fathers, shepherds, those of the sheep, not the others,
[2:19] although well thought out also and even some other monagi raining cinema only in
[2:27] that sense, today sets the cassock or oh what a surprise, don johann
[2:53] Sebastian Bach, the right eye of Joovin Nutchin' s classical soundtrack, because
[3:00] in the list that we have made, we don' t know if it
[3:05] is exhaustive, but rather fulfilling. I' m sure we' ll let
[3:10] ourselves be loved by a priest because we' ve drawn up the memory list
[3:17] and made sure that there' s more to the point that you say,
[3:21] but how is it possible that this lord has left himself to this or that
[3:25] by the change that you already know we insist on our discharge. We will
[3:29] say that these paths are more than unexculted, for we do not know at
[3:38] close feet the classification or categorization of the ecclesiastical hierarchy, but we do know
[3:46] that everything begins from above man. Never better said is it no longer among
[3:53] us, because all this began 2, 000 years ago. But the ground
[3:58] representative of the person or character who started it all. He lives in the
[4:04] smallest country in the world, the country with the birth rate, the most
[4:11] pauperrim in the history of humanity, because we begin with his holiness, with
[4:16] the Pope of Rome. Yes, that of the plenary indulgences, figure that
[4:23] has been taken to the cinema on more than one occasion. But here we
[4:27] are going to look at two examples, in two very different films and an
[4:32] absolute and diametrically opposite look. Movie Lord Two Popes year two thousand twenty-
[4:42] one and directed by Brazilian Fernando Meires, in which they masterfully embody Benedict sixteen
[4:50] and Pope Francis respectively. Don Anthony Hopkins and Don Jonathan Price, both nominated
[5:00] for the Oscars for their superb performances. You know of those films that are
[5:09] based, that rely on the power of interpretation two British actors. Who can
[5:17] ask for more. You' re watching the film and you think you'
[5:21] re watching Mr Rassinger and Mr Bergog film based on real facts, although it
[5:30] doesn' t matter that the version of the facts differs from that we might
[5:38] call authoritative biography by very real and truthful ones that result in the film,
[5:46] that they result in reality a miekin off of how it was the transfer of
[5:53] powers between them, how it was the beginning of a beautiful friendship. By
[5:57] the way, live football. And the second film, based on a pope
[6:02] from Rome is quite different, as we say Don Ani Moretti, film a
[6:09] abemus papam year two thousand eleven. There' s a new dad here,
[6:15] too. There is also a white smoker here, but a smoker pulls greyish
[6:21] tones. It has always been said that even priests are human people with heart.
[6:30] They are also earthly beings, for it makes the Pope incarnated by Mitchelle
[6:38] Picoli never better said dace. We' re not going to reveal. We
[6:43] ' re enemies. Let' s cut off the spoilers how this movie ends.
[6:47] But the departure of the new Pope to the Vatican' s Balcony differs
[6:56] greatly from the intentions of the cardinals who have chosen him as his primacy.
[7:01] It is what this type of film has to be directed by Don Nanni Morett,
[7:06] who, by the way, a few years earlier, in nineteen hundred
[7:11] and eighty- five, directed the final table. The Mass has ended in
[7:16] which Moretti himself embodies a village priest who is destined for a parish in Rome.
[7:27] That is, we insisted the priest is Nani Moretti, that is,
[7:30] the film is the neuras of any film Nany Moretti, but with Sotana Yarzacuellos
[7:39] they were not going to stop Nany Moretti from being himself. By the way,
[7:47] great movie. The Mass has ended, which we claim and recommend from
[7:53] now on in today' s program of Llovingocin And since there are no two
[7:58] and three, we speak of another movie with primate Rome, The Fisherman'
[8:05] s Sandals, year thousand nine hundred and sixty- eight and directed by Michael
[8:07] Anderson. It was not the substitute base of the demernaggets of the eighties,
[8:13] but the director, for example, of the round the world in eighty days.
[8:18] Well, in the sandals of the fisherman Anthony, who is named Pope
[8:24] and you will tell me what news the story has, because that pope has
[8:31] a nationality, because a little anti- cleric, because that pope, that
[8:37] Anthony, who is Russian and the film is set in the middle of war,
[8:45] cold one of two. Either the cardinals in charge of choosing the new
[8:48] pope were a little playful or they are already wanting to touch a little bit
[8:54] of the mother- of- pearls. By the way, Don Anthony,
[8:56] who is absolutely glorious and we already say that we do not know all about
[9:05] categorization as to the ecclesiastical hierarchy. But servant would say that after the father
[9:11] come the cardinals. Picture Otto' s Cardinal Award year one thousand nine hundred
[9:18] and sixty- three, The fearsome Otto Preminger in the director' s chair.
[9:22] Well, here the protagonist is an American priest, who is the one
[9:28] who actually reaches cardinal. But at what time the film is set, in
[9:37] the years leading up to World War II, what role the Catholic Church played
[9:46] during the years of ascension. So, we' re not going forward,
[9:52] because then they ask for another movie. But we left the ball in the
[9:58] ale of that super production of the time in which John Houston, Romeo Sneyder,
[10:05] rap Balone Varges Meredith, Lilian His Dorothygis' s sister, film that
[10:13] we also say and that we also recommend in the program today of Vene dine
[10:18] We warn it lasts three hours, which well looked at neither in any novelty.
[10:26] Long films were also made before. What do you think admirers of that
[10:33] disease and, as our collaborator points out to us, doesn' t amaze
[10:37] Don Juan alone. It' s also worth highlighting another dad. But this
[10:43] time we will have to do a little bit of plotting, because jut Low
[10:48] plays Pope of Rome in a TV series by Yang Pop Bueno Sale Javier Camera,
[10:54] Sale dian Keaton and is directed by Paolos Argentine credits to all of them.
[11:18] And we' re going to move on from ladders and we' re
[11:26] going to talk about mini- sections, sections of different kinds, of facing
[11:33] the priesthood, like, for example, friendly section, Catholic church section in
[11:39] Hollywood in the forties and the fifties there were agreements between Santas Ede and the
[11:46] Hollywood cinema Palomitero so that the latter would give a good account of the goodness
[11:54] of the Catholic, Apostolic and Roman Church. Film Following my path year one
[11:58] thousand forty- four, yes full World War II, Don Leo McCarey directing
[12:05] the star movie of the year to such an extent, Following my path,
[12:13] won seven of the ten Oscars that Mira was nominated to, as did the
[12:18] Honda film. Film Director, actor, cast actress and who were those two
[12:26] Oscar winners best actors, Domin Crosby and Don Barry Itcher respectively. Father O
[12:35] ' Malley and Father fitzgiwel two more than loving priests of classical Juvelywood, but
[12:46] this film has history. The most beloved Barry Ficherald was nominated for best lead
[12:54] actor and best cast actor for the same film. An unusual case in the
[13:03] history of cinema, in the history of the Oscars, the only occasion in
[13:07] which an actor has been nominated for best lead actor and best cast actor.
[13:16] What were they thinking about the day ho the night go Te, namely,
[13:20] which those responsible for the academy had to choose the nominees. There was already
[13:28] a fada anaway or a Warren bat in time immemorial that not everything is invented,
[13:37] including mistakes. Well, then, this film, on my way,
[13:41] had a sequel to Santa Maria' s bells. It happens that you Barry
[13:48] Fitcherald already Vincrosby put a part in feminine Dona Ingisburg and the thing was to
[13:56] curl the curl a little bit and throw a little rope and in the year
[14:01] forty- seven, one of the most unlikely films by wonderful or vice versa
[14:07] of church history. In the films, the bishop' s wife, directed
[14:16] by another frank for the hacienda, Henry Coster, in which David Niven acts
[14:24] as bishop, is the bishop of the title of the film and looks great,
[14:28] because we cannot tell what he does. But it is most angelic,
[14:33] movie more than magic, fantastic movie, movie of those to watch after it
[14:39] is beautiful to live on a twenty- four day of December. Or what
[14:45] we already say, Henrico Oster was a frank meadow. Like h and Potter,
[14:50] the bishop' s wife has less fame than the story of Clarence and
[14:56] George Maine, than, by the way, the bishop' s wife.
[15:00] He had fifty years later Remake in musical form with Winney Houston and Densel Washington.
[15:07] The Sonora band is the mother and before these films there was another mythical
[15:15] father, Father Flanagan, of forging men and of the city of boys.
[15:22] And who was that father Flanagan, there couldn' t be any better actor
[15:28] in Hollywood. We' re almost gonna say better person in Hollywood. To
[15:31] embody it, Spencer Tracy. Spencer Tracy' s bonus couldn' t stop
[15:37] playing priest at some point in his career. More than anything, because Spencer
[15:43] Tracy won his second oscar for this role a year earlier I had already achieved
[15:48] it by fearless captains. Something will have to do as a priest in the
[15:56] cinema when it comes to winning a statue this is a sailor warning, in
[16:02] case still today there is some aspirant to achieve it, next subsection we have
[16:10] titled section Sufferers at home, because it walks that does not suffer spiritually.
[16:15] Speaking Montgomery Cliff, I confess to Alfred Ciscock. Yeah, even if it
[16:22] didn' t look like it. Montgomery Cliff worked with Alfred Ciscock. It
[16:26] doesn' t seem like this priest' s thing carries his risk. It
[16:33] says the moral dilemmas of after all, a human person with heart, because
[16:40] the great moral dilemma of this film, the great dilemma of the priest incarnated
[16:47] by Montgomery Cliff, does not go the way of temptation, but because amont
[16:52] Gomery Cliff has confessed to someone that he has committed a crime. How to
[17:00] act in these types of cases? What needs to be done, we have
[17:06] to keep quiet, or we have to act passively and we say no more.
[17:11] By the way, one of Don Alfred Kisco' s great minor films,
[17:17] risks of invention, of confessional secrecy. He is O not Montgomery Cliff
[17:23] a sufferer, not only in his life, but also in this film and
[17:29] he walks that the two priests of the exorcist, Max bon Sidow and his
[17:37] colleague of operations, Jason Miller, suffer us. We all know the risks
[17:42] of exorcism. We would dare to say who has the worst in this film,
[17:49] the little rilan or the infamous priests who are in charge of taking the
[17:59] girl the demon out of her body. But we focused on them two,
[18:02] Max Bones and Dot and Jason Miller, two of the most unforgettable priests in
[18:07] history. A movie that would always have to be reviewed, because it'
[18:15] s worth the redundancy. In every revision. One encounters more than one surprise.
[18:21] Man Max Bown had already had the baggage of a race alongside im Marverman,
[18:27] had already faced death. And Jason Miller, because a little bit like
[18:34] Joel Gray with Cabaret, finds the role of his mccanada life, because then
[18:40] Jason Miller practically left it. And We have appointed the two priests and the
[18:45] little regac a remembrance for the mother, for the great one. In that
[18:49] and in all the other films in which the embuste took part. By the
[18:55] way, we refrain from commenting on more of that ors same priests and sequels,
[19:03] including the second exordist section Impostors. We were left with two diametrically opposed
[19:12] films We were never angels of the eighties and nines with Robert de Niro.
[19:18] It' s not gonna be the only time he shows up on today'
[19:22] s Daiovindo Cinema show. The American actor and they' re Pen as some
[19:27] evil man would say learning to make gestures had his partener next door. The
[19:34] 1980s film is directed by Irishman Neil Jordan in his American films. And because
[19:44] we say they are two impostors, because Sompen and Robert Nero are two fugitives
[19:51] from justice who, at one point, have to pretend to be mcnada priests
[19:56] to pass from that percid movie, by some remake of another film starring Han
[20:04] Free Bogar. We were not Angels, led by Michael Curtiz in the fifty
[20:11] - fifth year in which Han Free Bogar, along with Aldo Ray and Peter
[20:15] using Of, are pro fur, of justice, but in this case disguised,
[20:18] but not of priests. To make it seem that in this first film,
[20:26] Hanfrey Boward also disguised himself as a priest, good things of selective memory
[20:34] and cinema row, but he does act as a priest in the left hand
[20:41] of that same year. And he' s also an impostor. But we
[20:42] don' t mean much more. The protagonist of the Polish film Corpus Christie
[20:49] year two thousand nineteen. This protagonist is not a fugitive from justice, but
[20:55] almost because he also has to pretend to be a priest. She' s
[21:02] only 20 years old. He actually wants to be a priest, too.
[21:04] But what really happens is that the boy leads a life of dissolute lomar like
[21:11] confronting both worlds and both ambitions, because in a most original way and for
[21:18] you to corroborate it. You have to see the film Corpus Christie, directed
[21:25] by Jan Comasa in the year two thousand nineteen and we move on to the
[21:30] Dark section, because Dark is the story that Francis Forcopo tells about the Holy
[21:38] headquarters in Godfather three. The godfather three who would also need a revision.
[21:45] It is a film to the limit clearly inferior to his two saga sisters.
[21:52] It' s improbable because of finance issues related to the world of the Mafia.
[21:59] The Corleones family is involved in the succession of the new Pope year one
[22:06] thousand nine hundred and seventy- eight, yes, the year he met,
[22:11] as the two popes say well in the film up to three holy pontiffs.
[22:15] If godfather three is at the limit of oversimile by such matters as this or
[22:23] you accept it or reject it, man, the question is well brought.
[22:29] We know the godfather is a fictional story, but based on real fact.
[22:36] Man, we' d like to believe that the father' s succession and
[22:41] the subsequent pope' s succession in the year nine hundred and seventy- eight
[22:48] had nothing to do with any family of Sicily and Don Costa Gabras. Year
[22:52] two thousand two put our hearts in a fist with the story of Amen,
[22:57] a film with quite a vivid, a film that today would have been nominated
[23:06] to all known oscars and for having, but that in its day passed a
[23:10] little unnoticed. The film denounces through a young Jesuit, interpreted by Matthew Cassuicz,
[23:17] the connections of the Holy See, the connections of the Vatican. Indeed,
[23:26] that regime was born years after World War II. Those connections or those
[23:33] silences, those omissions of the Catholic Church in the face of barbarism committed in
[23:41] those years in Europe. For there is Mr Cassovicz to denounce him, with
[23:45] consequences that we will not reveal Jesuit. You had to be Don mathe Kassevic,
[23:53] who by the way is an actor, he' s a person with
[23:59] a Jewish heart, because he' s been costa gebras. There could be
[24:00] no better director to denounce it, denouncing sixty years later with a topic that
[24:10] few had dared to address until that moment we recommend the vision or review in
[24:17] this case of Amen of Costa Gabras of the year two thousand and twelve.
[24:19] And there is a key priest in one of the key films of Elia Kazan
[24:26] year one thousand nine hundred and fifty- four, the Law of Silence,
[24:32] the redemption film of Elia Kathan regarding her involvement in the Infaust Witch Hunt.
[24:38] Karl Malden is the priest in charge of being the wall of the lamentations of
[24:45] Marlon brand Marlon Brando is Celia Cazán or the ca Antonio Banderas, was Pedro
[24:52] Almodóvar in pain and Gloria trying to justify his confession in the hunt for Bruges.
[24:59] In this case, Marlon Brando tries to shake off his past related to
[25:06] the mafia world of harbour unions. There' s an actor we love who
[25:11] ' s edmon O. Brian won the Oscar for best cast actor for the
[25:15] countess barefoot man. It was a difficult year to get the statue. Because,
[25:22] apart from Edmond O' Brian, Sonokob and Rother Steger were also nominated
[25:27] for the Law of Silence and Karmalden himself for the same film. If they
[25:33] did not ordain to choose, today we would have given him the four most
[25:40] exequo prizes in the delivery of any cinematographic prize, gentlemen responsible for any of
[25:47] those awards and more than dark the following subsection, because we would not have
[25:52] liked that there were sections abuses films in which, directly or indirectly, the
[25:57] responsible ones appear. Let us say this about a practice that we do not
[26:03] know if it is punished by its rectors, at least if it did,
[26:07] but that in recent years has been a practice that has been proven to have
[26:14] been its daily bread. Spotlight film, winner of the Oscar for the best
[26:18] film in the year two thousand fifteen and twenty years before, film Slippers,
[26:26] directed by Barry Levenson, with superstellar casts and also talking about this infamous type
[26:34] of practice. If it is true, the truth hurts, because this truth
[26:40] really hurts and we like the title of our next section, Missionaries for the
[26:48] World, missionaries for the world, but also related to other kinds of abuses.
[27:15] On the contrary, the abuses of power were suffered by these priests,
[27:22] by these good men of God. Never better said film Romero year nineteen hundred
[27:30] and eighty- nine and directed by John Dwigan. American film, but film
[27:36] on the sidelines of the Hollywood establishment. Because Romero, the Holy People,
[27:41] denounces the persecution and murder of Latin American priests by Latin American governments sponsored by
[27:51] the United States of America, the legendary times of or priests of liberation theology,
[28:00] the United States, acting as accomplices or as ignores and silent, accomplices
[28:07] of acts of abuse and barbarism against the Catholic Church, version of liberation theology
[28:15] that were never better said left a little bit of the hand of God.
[28:23] By the way, Romero, the Saint of the People, starred in a
[28:30] magnificent and sadly, unfortunately, prematurely disappeared Raúl Julio and Jesuit missionaries throughout the
[28:38] world. It' s about the film The Roland Jofe mission of the year
[28:45] nineteen hundred and eighty- six. Who has not seen the mission, Who
[28:48] lived those years was not taken to the cinemas by their corresponding school of priests.
[28:57] That was a film that had to be watched, that had to lead
[29:03] you to see cinematographically speaking, because we found two ways to understand life in
[29:08] the film and two ways to understand the interpretation in the film. Don Jeremy
[29:15] Irons and Don Robert de Niro, two ways we already say totally and diametrically
[29:22] opposite. Also to understand the world of interpretation. The British' s tables
[29:29] against the actor' s method were studied from the American. The intringulis of
[29:33] this film have been named on more than one occasion in the program of Joogin
[29:38] Docine. The Jesuit world, the progressive one of the Catholic Church. Yes,
[29:47] those rebellious brothers, those brothers to whom they had to atone a little
[29:53] bit for their sorrows. How to send them on those worlds of God and
[30:00] that same year. In the film the name of the rose, it seems
[30:06] that there was a competition between the two to see what was the religious film
[30:11] of the year, the religious film of history. A nitric are Conneery in
[30:17] his role as Franciscan monk, possibly one of his best roles in the company
[30:25] of his disciple. He was also unforgettable and it seemed like he was going
[30:30] to have a career that was going to hit him. Christian Slater, a
[30:33] little bit like Batman and Robin. The dark crime of a Benedictine abbey of
[30:41] the 14th century gives rise to a most entertaining intrigue. Jean Jack won by
[30:48] directing a novel by Humberto Eco in a movie of those you couldn' t
[30:52] miss. By the way, in the role of inquisitor f Morray Abraham,
[31:00] who two years earlier had won the oscar by beloved Little by little, Mr
[31:07] Abraham was beginning to get papers in the dark. Let' s go with
[31:14] the section, section or other scroll, films in which the leading priests are
[31:22] not limited by internal or external causes to the exercise of their profession. The
[31:29] film was directed by Anthonia Bert, in which her leading priest is homosexual.
[31:38] Sure, now making films of this kind is most common. But at that
[31:45] time, a movie like a priest that was weird isn' t that it
[31:52] was awkward, it' s that you could hardly talk about it. How
[31:55] could a movie speak of a homosexual priest premiered the same. You did something
[32:06] wrong if you went to see this movie. Were you doing something wrong if
[32:10] you talked about it? How times have changed, fortunately, movie servants.
[32:17] Slovak film of the year two thousand and twenty, a film that denounces the
[32:25] submission and practically the yoke to which the Czechoslovak Catholic Church was subjected at the
[32:34] beginning of the eighties by the communist regime. The issue is key for two
[32:39] seminarians who see the wolf' s ears and disagree with them. What a
[32:47] way to take that of subjection to the rules imposed by the regime or to
[32:54] want to change the established order by a certain magnificent. The white or s
[33:00] and black of the movie preachers section, watch out for the appearances film the
[33:07] fire and the word, The Mencantry directed by Richard Burks, in which Barland
[33:13] Caster plays preacher Charlatan in the deepest United States, the zero scruple can be
[33:21] made money by manipulating in the name of religion. The night of the hunter
[33:27] Robert mitchul Charles Lapton, directing one of the best films in film history.
[33:32] Robert Mitchun also pretends to be a preacher careful with appearances? And how can
[33:39] we define clinistbood in the pale rider, a preacher of those who do righteousness,
[33:46] then, with appearances? And then the section, section priests improbable,
[33:57] then, unlikely section and what this kind of cinematic priesthood consists of, because
[34:16] we' re going to talk about those actors who either didn' t expect,
[34:22] or we didn' t know what they had made of priests or similar,
[34:30] or we either forgot about it. It may even be that, instead
[34:32] of actors, it was some other director who was that particular priest, such
[34:39] as Don Luis Buñuel. Luis Buñuel, who confessed to theo we already know
[34:47] thanks to whom he acted as a priest, did so in a brief appearance
[34:52] in the Mexican film. In this town there are no thieves of Alberto Isaac
[34:59] year or one thousand nine hundred and sixty- four, a brief appearance from
[35:05] the top of the pulpit, exercising the sermon in a way because as he
[35:10] could only do it, he socarrona and with second good disciple in his school
[35:17] years of the Jesuit brothers. He has also been a priest in the cinema.
[35:22] Tomilly Jones made it in a film of the year nineteen hundred and eighty
[35:27] - seven with the rembombante and title in Spanish lost priest souls of Tomily Jones
[35:32] in this film with moral dilemma when it comes to falling into temptation. And
[35:37] we can' t count any more, and we' ve already named him
[35:44] twice in today' s film show, but he' s a priest or
[35:49] missionary. Robert de Niro. Robert de Niro has been a priest in the
[35:54] cinema, in the film True Confessions of the Year nine hundred and eighty and
[36:01] was directed today by a forgotten Ulu Grosbart in a role and in a film
[36:09] that passes frankly unnoticed in the filmography of Robert de Nero is the point that
[36:15] it is virtually unknown to many, including the followers of the American actor.
[36:21] Another intriguing film with priest that priests will have to play so much in this
[36:27] film genre, and has been priest Walter Mattau and did so in an Italian
[36:34] film. I am the little devil of the year nine hundred and eighty-
[36:40] eight, directed and Coppo, starring Roberto Benini, is that before life is
[36:46] beautiful. Roberto Benini, saving all the distances and having been the Italian Santiago
[36:52] sure, was the most taquiller director of transalpine cinema and he did it with
[36:59] buying films like these. I am the little devil we could call an Italy
[37:04] nothing of a lifetime, for there was Walter Matau playing priest and Roberto beninie
[37:09] of that little devil. And if Walter Matou has been a priest, so
[37:16] must he be. Jack Lemon, a film to believe in from the year
[37:22] nine hundred and eighty- four, directed by Glene Jordan. Another of those
[37:27] films that they easily miss out on in an actor' s career, in
[37:34] this case Jacklemon' s, and he was a priest a little unlikely as
[37:38] well. Phillip saymure Hofman the deceased already. Phillip samurai Hoffman did it in
[37:44] the film of the year two thousand and twelve. The doubt magnificent film directed
[37:49] by John Patrick Sandley. The good of Phillip saymure Hofman at that time,
[37:54] the priest of a New York parish of the years is involved in a doubt,
[38:02] possible case of minor abuses. To solve the same. You have to
[38:12] see the movie. The distribution is an exception. Philip samurai Hoffman Mailin Streep,
[38:15] Amy Adams and Viola Davis, and he has also been a priest,
[38:22] though he may not seem so. Javier Barde did it under the orders of
[38:27] Terrence Malic, film of the year two thousand and twelve. Tuthe Wander,
[38:31] film failed, but with a Javier Barden embroidering the role of priest. Of
[38:38] course, it is unlikely that the protagonist of the film will be Ben Afflex
[38:45] and the last section of the program will be titled“ lovable priests” section,
[38:53] or rather this could be called“ Curas”. Agustín González in the
[38:58] trilogy of the national shotgun of Luis García Berlanda, one of the most remembered
[39:04] roles of Don Agustín and the one that simply addressed it. Don Luis had
[39:10] lived perfectly those years. He knew how they spent them on the Holy Catholic
[39:17] Church and asked Don Agustín González for a nostalgic, exaggerated and caricatured portrait of
[39:25] what was the church of an entire time. The facha priests of Don Agustín
[39:31] González have passed into the history of cinema and a priest of quite different court
[39:38] is José María Prada in aunty tula. Of course, Don Miguel Picazo,
[39:45] in that decade of the sixties, could not expound much when it came to
[39:52] showing his ideas. Well, he did it under the cassock of José María
[39:55] Prada a priest. We could even call it progressive for the time. It
[40:02] all came from Miguel de unamuno' s novel. Then, already with those
[40:07] two additions, the good Michael picazot had excuse to show a priest that he
[40:15] was not one of the addicts to a certain regime. And priest went in
[40:22] a way without Paco Martínez Soria. You' re going to forgive me for
[40:27] naming Don Paco Martínez Soria in the film Sermul Belén. It is that Don
[40:32] Paco was a magnificent actor and so was Antonio Garisa, who in the year
[40:37] sixty- eight starred in the film Argentina this priest. And we also have
[40:43] Father Piquillo of Don Chiquito de la Calzada, and we also have Don Camilo,
[40:47] who in the fifties made a whole series of films for the glory of
[40:52] his mothers. We end up with this smile in our mouth And so far
[41:38] has arrived one more show of your podcast, I watching cinema, in which
[41:44] we have celebrated in our own way, in the most secular way possible and
[41:49] in the most cinematically possible way, this week of Passion, this Holy Catholic,
[41:55] Apostolic and Roman week, which also for Jovindo cinema cannot give us enough
[42:00] play. And for this we have laid hands on all these priests, priests,
[42:07] bishops, chaplains, fathers and saints, fathers who have populated the films
[42:15] of the seventh Art throughout its history. In our way of celebrating these days
[42:22] we have seen examples of actors that we didn' t even think of,
[42:29] we remembered that they had been priests for one day. We have seen priests
[42:34] of all colors, of all styles and of all ideologies and we have even
[42:38] seen that appearances are deceived and that not everything is what it seems in the
[42:45] Catholic Church, hoping that the program has been of your total pleasure, we
[42:50] say goodbye until next week, in which we will talk about a topic that,
[42:54] as always, comes to mind in the coming days, until then we
[42:58] have no more than to thank you very much for your attention, much more
[43:02] your patience and make you the final culinary recommendation of all the shopping docine eat
[43:08] much banana, which is very healthy. Come on, you have plenary indulgence
[43:15] to take from you all you want and above all, when you look up
[43:19] to heaven, you know what you have to do. Find your cloud.
[43:22] We all have one. As soon as you have entered into trust and conversation
[43:25] with her, you must tell her very loudly and clearly what I avoid cinema
[43:34] par ten.

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