Leon Morin, Priest

Perhaps not a great film, but a very interesting one: the fact is that films that really try to explore female desire and sexuality are very rare, then and now, and even rarer, if not totally forbidden today, are films about the education (at the hands of a man, and a Catholic priest, no less) of that desire, which is to say, films mounting a case that such an education may be worthwhile or necessary. The use of very short scenes that convey only what is strictly necessary is also quite unusual.

Melville on spiritual torment and repressed sexuality during wartime occupation. This film has many angles rich with dramatic potential, and yet it falls somewhat flat. Emmanuelle Riva is outstanding, but Belmondo's title character is too one-note, too faultless and all-knowing. All of Riva's solo scenes without him are far more interesting, but unfortunately the meat of the film consists of Morin waxing existential, easy and unchallenged.

Melville brings a lot of interesting touches to this story, especially in his editing techniques. There's very little narrative filler, cutting right to the heart of matter. It's an unusual movie with a lot going for it, including some engaging dialogues. But I had difficulty connecting with the characters. Barny is too malleable, and while Belmondo is surprisingly not too distracting as a priest, Morin is too idealized. He always has the exact right thing to say. But I'm glad I watched it.

By no means a perfect film. I think Melville is still experiencing some stylistic uncertainties here, as with many of the close-ups that isolate, and make symbolic, certain objects or features: they are a rupture in the flow of the film. The whole story, for me, rests upon the strength of the Leon Morin character, played brilliantly by Belmondo, and this alone elevates it to something I could recommend highly.

I understand why it was a schock in 1961

A very philosophical film, with religion and sex all tangled up together. For the first twenty-some minutes, Melville channels the New Wave with some really weird editing styles, but maybe that's because the story takes a little while to set up. Belmondo and Riva are compelling even when they're just sitting in a room together, although he seems way too wise for his years. I wouldn't call it Melville's best; it's still a strong entry in his catalog.

A surprising return to the subdued direction and novelistic scripts of early Melville. Lots of food for thought, but not really the kind of thing that stays engaging for 2 hours. Jean-Paul Belmondo is absolutely as sexy as everyone says, though.

Önce İtalyanlar, sonra da Almanlar tarafından işgal edilen bir kasabada yaşayan bir dul (eski kocası Yahudi) ile kasabanın Katolik rahibi arasındaki ilişki. Beni sarmadı, meraklısına...

Good. Loved Rivas, and belmondo is fine too. And it's interesting, but tbh also pretty boring at times

Contemplatively sharp.

The humorous undertones play nicely with the dynamics between the characters.

Viewed February 17, 2014.

86.500

Inventive framing/editing with a consistently surprising story make this a fascinating exploration of its thematic interests: politics, religion, and sex. Further, Melville gives us yet another portrait of occupied France (see also Army of Shadows), with characters looking for a way to live outside that oppression. Barny initially chooses politics, but the movement toward religion, bound up with her desire for the powerful priest, raises fascinating questions about the clarity of our actions.

A great film about sexual yearning pitted against religious conviction. Some of the theological back-and-forth went a bit over my head, but it was still interesting, and the chemistry between Belmondo and Riva was enough to keep me captivated throughout.

87.250

The best interpretation I have: a film about the interrelationship between sexual desire and spiritual yearning. However, the film--or at least the priest--felt like the brainchild of Catholic Church's PR department.

This extraordinary drama doesn't just play games with sexual disorientation and philosophical argument; it's also implicitly about life turned upside down.