The Shoes of the Fisherman (1968)

This movie is the proof that the world is becoming a sick and dumb place

Great Film overall

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Based on the 1963 novel of the same name by Morris West, it tells the story of a Ukrainian archbishop named Kiril Lakota who, after being released from 20 years imprisonment in a Siberian labour camp, is elevated to the Cardinalate. He does not want the position, begging Pope Pius XIII for "a simple mission with simple people," but it is essentially forced upon him. When the Pope dies, Cardinal Lakota is elected to succeed him and even more reluctantly accepts that position, taking the papal name Kiril I. In the meantime, the world is on the brink of full scale nuclear war due to a breakdown in Sino-Soviet relations exacerbated by widespread famine and starvation in China.Anthony Quinn is simply marvellous as the brilliantly characterised Pope Kiril, a man of great intelligence, wisdom, compassion and dignity. In a wonderfully understated performance, he plays the new Pope as a quiet, contemplative man who cares deeply about the world and its people, Catholic and otherwise. He finds being called to fill the shoes of the fisherman not only a daunting task but a lonely one too. Feeling cut off in the Vatican, he has his personal aide find him the black cassock of an ordinary priest so that he might walk through the streets of Rome in disguise, something which may have been inspired by "Henry V". Tending to a Jewish man on his deathbed, he recites the Kaddish which he learned from a rabbi in the prison camp. He is a true man of the people.Laurence Olivier is typically excellent as Kiril's former jailer Piotr Kamenev, who has likewise moved up in the world as he has become the Soviet premier. Another very strong character, he was presumably named after the early Soviet politician Lev Kamenev. By no means another Stalin, he is an intelligent and pragmatic, though conservative, Communist. He has no more desire for nuclear war than anyone else. As he realises that the Pope can influence millions of voters in the Western democracies, he seeks his assistance in mediating talks with China's leader Chairman Peng. Olivier has relatively little screen time but commands the screen whenever he appears on it and he has great chemistry with Quinn.It has an excellent cast overall: Oskar Werner as Father David Telemond, who becomes Kiril's closest friend but is silenced by the Vatican for his heretical views; Leo McKern as Cardinal Leone, who often disagrees with the Pope's decisions; Vittorio De Sica as Cardinal Rinaldi, who proposes Kiril's election to the papacy and who sadly disappears from the film after its first half; David Janssen as George Faber, the Rome correspondent for an American TV network who doesn't take "Thou Shalt Not Commit Adultery" too seriously; Barbara Jefford as his long-suffering wife Dr. Ruth Faber; Burt Kwouk as Chairman Peng, one of his most serious roles; and, in a fantastic cameo, the great John Gielgud as Pope Pius XIII. It has also nice appearances from Clive Revill, Niall MacGinnis and Marne Maitland in small roles, though Frank Finlay is atypically bad in his one scene role as Igor Bounin.The film benefits hugely from its top-notch script. It is filled with great characterisation and the dialogue is beautifully written. It is an extremely intelligent film which does not condescend to its audience. Much of the film concerns the internal politics of the Vatican, very much a world onto itself, as well as the Vatican's role in the politics of the outside world. It also features a fascinating examination of Christianity in general and Catholicism in particular through Father Telemond's unorthodox beliefs. Kiril's relationship with him is the most interesting part of the film. The Sino-Soviet subplot is extremely effective. On the other hand, the (unresolved) one concerning the Fabers' failing marriage is the least interesting part of the film but it's still well done. It is very, very well directed by Michael Anderson, who gives the material a suitably epic feel. Shot entirely in Rome, the film made excellent use of the beautiful scenery of the Eternal City but, at the same time, it was not afraid to show its underbelly in the scenes where Kiril visits one of the poorest parts of Rome while disguised as a priest. They don't make them like this anymore, I'm afraid.

This film, based on the book by Morris L. West, was made in 1968 and seemed far ahead of its time but it is remarkably accurate in predicting the trends we would come to witness with subsequent popes. No longer are popes crowned with a tiara. We have seen a pope from the Communist bloc and three non-Italian men have served as pope. Francis, the current pope, mirrors many of the traits of Pope Kiril with his emphasis on social justice and the stories of his secret forays into Rome. Anthony Quinn offers up a pope who is humble but also wise. Despite the shock of his election, he knows who is the boss. One scene outside the Vatican is very moving as he visits a dying man, who happens to be Jewish. We also see a pope who is comfortable amid the hurly-burly of city life. The film draws the viewer into the movie with scenes we have often witnessed from St. Peter's Square of huge crowds at the time of a pope's death and the subsequent election of his successor. David Jansen is the erudite broadcaster talking to American audiences about the workings of the Vatican and the progress of events. There are the processions through the square, close-ups of statues around the square, puffs of black and white smoke telling onlookers the status of the balloting, and the tolling of bells. The movie goes behind the scenes and takes the viewer back to the square with the throngs waiting in anticipation until the drama is over. In this film, it reaches a finale with the coronation and in particular, the words of the new pope.I found the pomp and pageantry and the sacred traditions surrounding the death of a pope and the election of a successor to be well described and displayed. The inquisitorial nature of the pontifical commission grilling the Oscar Werner character is what we are given to believe about the Vatican's treatment of theologians. Werner was outstanding in his role as an avant grade theologian breathing new life into church dogma against the rather staid and anti-intellectual Vatican insiders. Vittorio de Sica was excellent as the urbane Secretary of State. Leo McKern, as the conservative Cardinal Leone, was shown to be a man with some foresight and compassion. John Gielgud had a brief but impressive role as the aging pope welcoming Kiril Lakota to the Vatican. A large-scale movie with an excellent cast, I would gladly see the it again.

I am a man of faith but not Catholic. I appreciated the taste with with faith and Catholicism were portrayed in the movie. Not a perfect movie and it can appear dated at times. However it does have some plot twists, makes you think and reminds you of the hope and humanity of the human race.Quinn does an excellent job portraying the conflict he faces. The supporting cast plays their wells true. Some of the premises and solutions might be far fetched but the plot does a great job of portraying the agony and subsequent growth one goes through as he or she is faced with difficult life changing decisions.

And if you don't read Latin, that summary ain't a compliment. This elephantine blob of dullness is enough to drive the faithful right out the front doors of their parish church. How anyone can take a cerebral story of a prisoner of faith in the Soviet Gulag who rises to the pinnacle of the Roman Catholic Church as Pontiff and turn it into 160+ minutes of ponderous, tedious banality deserves a special Mass.But first, about a thousand Our Fathers and Hail Marys. Michael Anderson's production sucks almost every drop of humanity out of Morris West's book. THE SHOES OF THE FISHERMAN fails miserably where Allen Drury's--and Otto Preminger's--ADVISE AND CONSENT, succeeded in showing the internecine workings of the U.S. Senate. The viewer never really believes he's watching the elevation of a Ukrainian bishop to Cardinal, then Pope. It's just Anthony Quinn looking horrified at the prospect of being in another scene. And on and on.The cast--and the viewers, for that matter--serve an interminable penance for sins undetermined, and non-Catholics must wonder why all the loyalty to the Church by its members.The next time you really screw up, watch the movie. It's worth at least 3,000 Our Fathers.