Criteria: The Catholic Film Podcast

James Matthew Wilson, a poet and philosopher with a creative writing program at the University of St. Thomas, dives deep into the world of the Marx Brothers. He discusses their iconic films, 'Duck Soup' and 'A Night at the Opera,' highlighting their revolutionary impact on comedy. Listeners are treated to a poem featuring Marx Brothers’ allusions and insights into Groucho's correspondence with T.S. Eliot. Wilson reflects on the interplay of humor, heart, and absurdity, emphasizing the relevance of their unique style in contemporary culture and personal experiences.

On the latest episode of Criteria: The Catholic Film Podcast, Andrew Petiprin joins James and Thomas to discuss the late David Lynch's most uplifting film, The Elephant Man. The film is based on the real Victorian-era life of Joseph Merrick, a man who suffered terrible abuse because of his extreme deformities, yet whose human dignity was ultimately recognized and allowed to flourish by those who rescued him and cared for him with Christian compassion. Panel on film at Notre Dame with Thomas Mirus, Andrew Petiprin, and Nathan Douglas https://www.youtube.com/watch?v=-7oE8d6RcCw&ab_channel=deNicolaCenterforEthicsandCulture Andrew's book Popcorn with the Pope: A Guide to the Vatican Film List https://bookstore.wordonfire.org/products/popcorn-with-the-pope DONATE to keep this podcast going: https://www.catholicculture.org/donate/audio SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters  Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

James and Thomas discuss Nicholas Ray's thrilling 1950 film noir In a Lonely Place. In an outstanding, nuanced performance, Humphrey Bogart plays quick-tempered screenwriter Dixon Steele, who enters into a fast-moving relationship with Laurel Gray (Gloria Grahame) just as he is under suspicion for the murder of another young woman. The investigation puts a strain on their romance, revealing the problems of relationships without the requisite mutual trust. SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to keep this podcast going: https://www.catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Oscar-nominated writer and director Timothy Reckart rejoins the podcast to discuss a movie that has a marked resonance with the Nativity story, Alfonso Cuaron’s brilliantly crafted dystopian thriller Children of Men. Set in 2027, it depicts a world that has fallen into despair and chaos because of a worldwide infertility crisis: no one has been able to have a baby in eighteen years. The film, made in 2006, depicts a future England looks in many ways like today’s: childlessness, terrorism, and state-provided euthanasia. In the midst of all this, jaded protagonist Theo (Clive Owen) is given the task of secretly escorting a young refugee woman to the coast - and then discovers that she is pregnant. Sycamore Studios https://sycamorestudios.com/ SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to keep this podcast going: https://www.catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

The Tree of Life may well be the greatest movie ever made. Heavily inspired by the book of Job and St. Augustine's Confessions (and even including some lines about nature and grace seemingly derived from The Imitation of Christ), director Terrence Malick gives profound spiritual and cosmic scope to the story of an ordinary family in 1950s Texas. The film begins with the death of a son, detours to the creation of the universe, and then flashes back to a richly observed sequence of childhood in all its beauty along with the tragic effects of sin - seen through the memory of a present-day narrator seeking the traces of God in his past. The greatness of The Tree of Life lies in its unmatched poetic power. Unless you've seen another Terrence Malick film, it will be unlike anything you've seen before. Though it has a story, it is less focused on plot development than on an archetypal yet vivid picture of family life and how we gain, lose, and recover our awareness of "love smiling through all things". The film does not follow typical rules of chronological or visual continuity (one could say it is almost entirely montage), but its improvisational freedom and fluidity in acting, cinematography, and editing make for a kinetic and exhilarating viewing experience. The portrayal of childhood is surely the most beautiful ever put on screen. Nathan Douglas joins as guest host in this continuation of our series covering Malick's filmography. SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to keep this podcast going: https://www.catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

The Sound of Music is rightly beloved by Catholics. James and Thomas discuss the movie's all-around excellence, break down Julie Andrews's virtuosic performance, and explore what the film says about the freedom and openness necessary to discern and pursue one's vocation in life. DONATE to make this show possible! http://catholicculture.org/donate/audio SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Br. Joshua Vargas, a seminarian in the Philadelphia Oratory known for his artistic contributions, joins the discussion on the latest season of The Chosen. The conversation dives into the season's pivotal moments, from John the Baptist's execution to Lazarus' resurrection. They critique the show's shift towards fictional subplots that might distract from biblical truths. Jonathan Roumie's portrayal of Jesus shines, but concerns about character development and narrative integrity arise, alongside reflections on emotional depth and historical accuracy.

Nathan Douglas, an expert on magisterial documents about cinema, joins Thomas Mirus to discuss the Church's evolving relationship with film from Vatican II and onwards. They explore how the Church shifted from celebrating cinema as a unique art form to viewing it within a broader media context. Key themes include the importance of media literacy for youth, the evolving criteria for artistic merit in Catholic film, and the need for artists to balance creativity with moral integrity. They also touch on controversies in Catholic cinema awards and the responsibility of filmmakers in contemporary culture.

The 1991 film A Brighter Summer Day, directed by Edward Yang, is considered by many one of the best movies ever made. The film is set in Taiwan, shortly after the Chinese Civil War, when the country was under martial law, with a political and cultural pressure felt at every level of society. At the center of this intricately plotted four-hour drama is the family of fourteen-year-old Xiao Si'r, whose strong sense of honor and justice is pulled in various directions as he gets caught up in a youth gang and romantically entangled with the girlfriend of a disappeared gang leader. But more than that, this incredibly textured four-hour drama gives the sense of a whole uneasy social fabric. As this is the first Chinese-language film the Criteria hosts have covered, they are joined by film festival programmer Frank Yan, who provides crucial historical and cultural context about Taiwanese history and cinema. SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to make this show possible! http://catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Thomas Mirus and Nathan Douglas continue their discussion of Pope Pius XII’s apostolic exhortations brought together in the 1955 document “The Ideal Film”, which remains the high water-mark of official Church engagement with the art form. They also touch on his 1957 encyclical Miranda prorsus, on radio, films, and television. In the first audience, Pius XII had discussed the ideal film in its relation to the spectator. In this second audience, he discusses the ideal film both in relation to its content, and in relation to society. He makes general observations on the legitimate range of subjects which a film may take on as matter for its plot, and offers principles for films which deal with religious subjects and for the portrayal of evil. Pius XII puts his finger on one of the biggest problems with many Christian movies: “Religious interpretation, even when it is carried out with a right intention, rarely receives the stamp of an experience truly lived and as a result, capable of being shared with the spectator.” Two years after The Ideal Film, the encyclical Miranda prorsus (on radio, films, and television) reiterated much of the moral teaching of Pius XI’s Vigilanti cura, but with more detail for particular occupations within the film world—directors, producers, actors, theater owners, etc. Of particular interest is the teaching about the moral obligations of Catholic film critics. Links Pope Pius XII, Apostolic Exhortations on The Ideal Film https://www.vatican.va/content/pius-xii/en/apost_exhortations/documents/hf_p-xii_exh_25101955_ideal-film.html Pope Pius XII, Miranda Prorsus https://www.vatican.va/content/pius- SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to keep this podcast going: https://www.catholicculture.org/donate/audio Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com