Here's
a nice film; 1963`s Lilies of the Field, starring the Oscar-winning
Sidney Poitier as a man apparently without a home, who seemingly
just lives his life driving around America, doing odd jobs
just to survive. One day he unwittingly finds himself in the
company of five German nuns in a run-down home in the middle
of the Arizona desert. He is just passing through, as he puts
it, and asks for some water to cool down his engine. But little
does he know that he was sent by God to do an important task.
At
least, this is what the Mother nun heard from the big guy
himself. As soon as she sees Poitier helping himself with
the well, she whispers "God is Good. He has brought us a big
strong man." It seems that the nuns are hoping someone will
help build them a decent chapel to worship in. Poitier is
taken aback by this stern request, and protests it all the
way. However, he is convinced to at least help fix the roof
of the house. Little does he know that he has committed himself
unconsciously to the greater plan: first, he is about to leave
after his work, but he is convinced to stay for supper, then
he is convinced to stay for the night, and so on, until he
realizes he will not get away from here until he gets that
chapel done. Truthfully, it's not so much that he can't get
away, but, beneath all the bluster and protest, he clearly
has a generous soul, which after an unknown time of lonesome
wandering, will now actually be put to use. Even if he can't
help but to do so.
Later
on, he realizes it's not so much the nuns who need his help,
but an entire community. Normally, the nuns must walk for
miles on a dusty dirt road to their Sunday mass, but with
Poitier`s car, they get him to drive them up. It turns out
the ``church`` is nothing more than a spot behind a diner,
led by a priest who travels in a camping trailer. The priest
himself always wished he had a real church to work in, but
doesn`t expect that to happen any time soon. But this only
creates more reason for Poitier`s character to remain and
build a chapel.
Poitier
is a powerful actor, and even in light-hearted material like
this he exudes tremendous presence. He handles both the comedic
and confrontational scenes with ease. There are many fine
moments in both those categories throughout the movie, including
his first English lesson with the German nuns. He gets a real
kick out of their eagerness to follow his instructions, and
proceeds to have a lot of good-natured fun with it. Another
scene has him getting them to join in a rousing gospel miles
away from their rigid Catholic hymns. There is also a brilliantly
subtle element involving racial tension, during the scene
when the nuns try to persuade a construction company to hire
Poitier`s character part-time so he would be able to stay
for the chapel building. The foreman, as most Southern whites
would do, addresses Poitier as 'boy', and clearly is suspicious
of his credentials, yet slowly agrees to have him on board.
No mention is made to the boy reference until the end of the
conversation, when Poitier, in telling the foreman that he
will be an extremely reliable employee, addresses him as 'boy'.
That word is the only verbal reference, but the way Poiter
says it revealed the growing confidence of society to address
the reality of even subtle (perhaps even unintentional) racism
in every day life, and to do something about it.
Another
subtle element involves how Poitier truly feels about this
mad task. Throughout the film, he behaves as if this is a
true torture, to have to build this chapel for free, and to
live under the nun`s strict rules, but at the same time, even
he is begining to behave, if not through words, as if this
is a mission of some heavenly kind which he must accomplish.
There is a telling moment when the townspeople offer him help
which Poitier constantly refuses, so much so as to put up
a cardboard sign demanding the curious to keep their hands
off the materials. The observers, led by the diner owner,
subtly get into the job, however, which for a while dissappoints
Poitier greatly, until he realizes that only his leadership
and knowledge of the work will allow for the entire congregation
to finish the job properly. Obviously, Poitier cares greatly
that such a project be done well. Maybe he is a perfectionist,
sure. Or maybe he believes this a test which must be won...
or else it won`t be just people who are dissappointed, but
God as well.
Speaking
of religion, it must be said that the theological content
of this film is not too deep. This isn`t a praise-the-Lord
affair, but a film in where religion is used as part of the
overall warmth of the picture. I don`t think anyone will feel
conversion after viewing, but will possibly feel good about
life as a whole. The concern about religion comes through
when the diner owner says that while he does not know about
the after and therefore doesn`t concern himself with it, he
does good deeds for his fellow man out of insurance, just
in case........ This might sound a bit like the idea by the
original Seventh-Day Adventists that there are true Christians
and false ones: the true ones believed in Jesus, and fully
accepted his grace in his life, while the false ones merely
pretended at it, by doing the deeds but not putting any faith
into them. Apparently, those who go by insurance will not
find themselves in a heavenly place when they are faced with
the Final Judgement. But this is just religious doctrine,
we`re dealing in reality here, and the message of the film
is a good, humanistic one. It`s not so much that we should
do good deeds to get on the good graces of spiritual institutions,
but we should just do them regardless. By helping others out,
we feel good and make others feel good. You feel good for
having done something useful, and others will have a church
where they can practise their religion instead of standing
out in the windy desert. Christianity has nothing to do with
it. Only decency.
David
Macdonald
David
Macdonald's Movie Reviews
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