20 March 2000 | Tin Man-5
A strange mix
"To Kill A Priest" has all the things that can make a movie great. Great direction, a powerful cast, good chemistry between well-defined actors, and a strong premise. Where is falls short is in the core. It is almost told from a newsreel's perspective, briefing the audience on an event rather than actually presenting any specific theme. Therefore, many multiple themes can possibly be drawn out of this, and while this fact keeps the film from being a masterpiece, it certainly doesn't make it a bad film.
Inspired from actual events, the story centers around Father Alec (Christopher Lambert), a young, charismatic priest who isn't afraid to go against the system in his home in 1981's Poland. In a land ruled by Communism, he is a strong voice for Soliditary, and the people love him. Likewise, Stefan (Ed Harris) is a secret police officer who loves his country and he thinks that communism is the only way, and people like Alec are only getting in the way. He is emotionally disfunctional, and his family life is a wreck. Haunted by a painful past, he thinks that if it is possible to eliminate Alec, the people of Soliditary would run scared.
Hence, the film presents two sides of the story, about two men who love their country and their people, and how they each interpret what they believe to be Poland's needs. Along the way, the film also speaks of both corrupt polititians and cowardly priests (led by Joss Ackland and David Suchet, respectively), and how Alec and Stefan both try to use both to get their work accomplished. Both provide very powerful defenses for their visions and actions, and both are very committed to a destiny which will collide them together.
Mostly, this film is a collection of excellently-directed bits of dialogue which are magnificent to behold. The scenes in which Lambert tries to defend his work to Suchet sizzle with intensity, likewise do the scenes between Harris and Ackland. The subplots involving Joanne Whalley and Pete Postlethwaite are also compelling and thought-provoking, and the performances of all the actors are nothing short of majestic.
What then, is missing? The fact that the film takes no sides, and presents both sides of the argument equally. Therefore, though the bits of dialogue at the beginning and end seem to lean towards Alec's cause, the center of the film never really states which side it is taking....that of communism, or that of soliditary. Because of this, any message that the film is trying to make is lost in the balance to time spent on each argument. This might have been the point of director Agnieszka Holland, but if it is, then it was a bad idea. It would have been more effective if he had chosen to follow one of the arguments and run more rampant with it. If this had been the case, than history might have been changed with the ballot for best picture at the Academy Awards of 1989 reading "To Kill A Priest."
However, because of this flaw, the film is very compelling, in spite of itself. Most thoughts of communism nowadays only bring to mind thoughts of stereotypical, mustache-twirling villians. However, due to the time spent on both sides of the spectrum, this is proven not to be true. Stefan commits the acts he does because he honestly believes he is doing what is best for his family, and he isn't ashamed of any of it. This side presented to communism is quite intriguing, and it shows that one doesn't have to be evil to be on the side of evil. Hence, due to the lack of a single theme, multiple themes are presented, and while they might not be as powerful as a film with simply one to expand on, the emphasis on them all is thoughtful, if uneven.
*** out of ****