IMDb RATING
6.3/10
2.6K
YOUR RATING
Anti-Catholic and anti-cleric policies in the Mexican state of Tabasco lead the revolutionary government to persecute the state's last remaining priest.Anti-Catholic and anti-cleric policies in the Mexican state of Tabasco lead the revolutionary government to persecute the state's last remaining priest.Anti-Catholic and anti-cleric policies in the Mexican state of Tabasco lead the revolutionary government to persecute the state's last remaining priest.
- Awards
- 1 win & 2 nominations
Dolores Del Río
- An Indian Woman
- (as Dolores Del Rio)
Pedro Armendáriz
- A Lieutenant of Police
- (as Pedro Armendariz)
Chris-Pin Martin
- An Organ-Grinder
- (as Cris-Pin Martin)
- See all cast & crew
- Directors
- John Ford
- Emilio Fernández(uncredited)
- Writers
- Production, box office & more at IMDbPro
Storyline
Did you know
- GoofsWhen the Priest is on line getting ready to board a ship, he is approached by a young boy that was baptized by him. The boy informs him that his mother is dying and wishes for the priest to come home with him to give her the last rites. What is not explained is how did the boy just happen to know that the priest was in town and getting ready to board a ship at that precise moment and in the third class section.
- Quotes
A Police Informer: [to the priest] He's dying, Father. He wants you to come. You cannot refuse a man who is dying, Father. He has so much to confess.
- ConnectionsFeatured in John Ford (1992)
- SoundtracksBury Me Not on the Lone Prairie
("The Dying Cowboy") (uncredited)
American folk ballad based on an older sea song (1932)
Variation heard as theme for the Gringo (Ward Bond)
Featured review
The Gospel According to John Ford
With the important Mexican team that did the most famous films of director Emilio Fernandez ("Flores Silvestres", "Maria Candelaria", "Las Abandonadas" ...): Dolores del Rio, Pedro Armendariz and cinematographer Gabriel Figueroa, based on work Graham Greene's "The Power and the Glory" outstanding writer and an actor of the caliber of Henry Fonda for the leading role, everything seemed to assume that it would result in another great drama like that in the 30s and early 40s we had given the remarkable director John Ford.
The story begins with a perfect plane: after wandering a good trip, Henry Fonda comes to the doors of a church in a altosano. When you open the doors, we see from the inside and then pushes the wings leaving a cone of light entering from outside. He stops for a moment with arms outstretched and thus draws a significant cross that serves as a signal to understand that we are facing another martyr. Then his personality is revealed and we know that is a priest, a fugitive from an authoritarian system that pursues anti-clerical.
And then guess the first flaw of the script by Dudley Nichols: Spend a long time before we see a significant gesture that motivates us affection and empathy with the priest or to explain that it is unjust persecution that is being targeted. In addition, certain to appease the church, the writer removes all characters in the work of Greene, recreating the priest as an earthly man, and prefers to characterize it as a man who does not break an egg and is left to manipulate the whole who wants to do. ¡Pure fiction!
Credits, to emphasize the universality of history are made in the manner of Chaplin: Henry Fonda... a fugitive, Dolores del Rio... an Indian woman, Pedro Armendáriz... a lieutenant And soon we realize: It is neither more nor less than the story of Jesus, moved to the 40s of the twentieth century, which is telling us. Of course! María Dolores is none other than Mary Magdalene and the bounty is the same Judas. The triangle of Nazareth to the mero mero.
Unless the pertinent images Figueroa, nothing relevant that this film offers us nothing in surface waters and quite sugary.
The story begins with a perfect plane: after wandering a good trip, Henry Fonda comes to the doors of a church in a altosano. When you open the doors, we see from the inside and then pushes the wings leaving a cone of light entering from outside. He stops for a moment with arms outstretched and thus draws a significant cross that serves as a signal to understand that we are facing another martyr. Then his personality is revealed and we know that is a priest, a fugitive from an authoritarian system that pursues anti-clerical.
And then guess the first flaw of the script by Dudley Nichols: Spend a long time before we see a significant gesture that motivates us affection and empathy with the priest or to explain that it is unjust persecution that is being targeted. In addition, certain to appease the church, the writer removes all characters in the work of Greene, recreating the priest as an earthly man, and prefers to characterize it as a man who does not break an egg and is left to manipulate the whole who wants to do. ¡Pure fiction!
Credits, to emphasize the universality of history are made in the manner of Chaplin: Henry Fonda... a fugitive, Dolores del Rio... an Indian woman, Pedro Armendáriz... a lieutenant And soon we realize: It is neither more nor less than the story of Jesus, moved to the 40s of the twentieth century, which is telling us. Of course! María Dolores is none other than Mary Magdalene and the bounty is the same Judas. The triangle of Nazareth to the mero mero.
Unless the pertinent images Figueroa, nothing relevant that this film offers us nothing in surface waters and quite sugary.
helpful•63
- luisguillermoc3
- Apr 29, 2010
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Details
Box office
- Budget
- $1,500,000 (estimated)
- Runtime1 hour 44 minutes
- Color
- Aspect ratio
- 1.37 : 1
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