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Religious Movie Seminar, 630 E Street SW, Washington D.C., DC (2026)

03/23/2026

The War of the Worlds

Shown on Sunday, March 22, 2026
Gene Barry, Ann Robinson, Cedric Hardwicke
Directed by Byron Haskin (1953) 85 minutes

Commentary
The War of the Worlds by Byron Haskin is an adaptation of H. G. Wells’ novel of 1898. The setting is changed, though, from Victorian England to southern California in 1953. There were attempts to make earlier versions by Cecil B. DeMille and Alfred Hitchcock, but nothing reached production. Since 1953, there have been many versions since. There was a televised serial from 1988-90; Tom Cruise starred in the 2005 version; there was one miniseries in 2019 and another from 2019-22 starring Gabriel Byrne, and another with Ice Cube and Eva Longoria in 2025. On Halloween night in 1938, Orson Welles, pretending to interrupt a musical program with news bulletins, caused panic with his radio broadcast of War of the Worlds.

This, the original film, shot in Technicolor, won the Academy Award for Best Visual Effects. The picture is sharp, the colors brilliant and the sound clear. Stock footage from World War II was used to portray devastation. The appearance of the Martians was largely changed for the film. It was restricted to viewers over 16-years old in Britain. It was selected for preservation in the National Film Registry by the United States Library of Congress in 2011, as a testimony to its cultural significance. The climactic scene was shot in Saint Brendan’s Catholic Church in Los Angeles. Although Wells, who was not a religious man, described the clergy unfavorably, the film respects the role of the pastor. Wells did not give the credit to God for saving the world, but Haskin did, and in 1953, audiences were uplifted.

Cedric Hardwicke begins with a narration saying that World War II witnessed the invention of weapons of terrifying power. He then describes the harsh environment of Mars and how its inhabitants, who are technologically quite advanced, are looking at Earth as a better place to live. Suddenly, we see what seems like a meteor crashing on the outskirts of a small town. It looks like a burning rock, but it didn’t come like a meteor. People gather around the curious object. Scientists fishing in the area are asked to investigate. Dr. Clayton Forrester arrives and meets Sylvia Van Buren, whose uncle is Dr. Matthew Collins, the pastor of the community church. Forrester has a Geiger counter, which detects radioactivity from the supposed rock. Meanwhile, the pastor invites Forrester to stay at his home while the rock cools down.

That night, they go to a square dance. Three deputies keep watch at night, and they see something moving on the top, like a hatch unscrewing. Something emerges like a periscope with a light on the tip. The men approach with a white flag to greet the Martians peacefully, but they are zapped. Consequently, the town loses power and telephone service. At the dance, even watches stopped keeping time. They are magnetized. The sheriff goes to the site with the scientist. They discover what is left of the three men and their truck. Forrester recognizes it as an extraterrestrial device. Suddenly, more fall from the sky.

The marines are called in. In 1953, Americans felt that their military was invincible, but it will be facing a powerful new foe. Meanwhile, reporters are gathering information. People hear reports of Martians as they go about their usual lives. They have come down in countries around the world, not randomly, but according to a plan. A Martian vessel emerges from the valley and hovers above the surface. Then, a second one comes out from the same location and a third! The soldiers prepare to fire, but the pastor protests, saying that someone should try to speak to them first. If they are more advanced than mankind, he reasons that they must be closer to the Creator. Pastor Collins approaches the aliens slowly holding a pocket Bible and reciting Psalm 23 (…though I walk through the valley of darkness, I fear no evil…). The encounter does not go well, so the colonel opens fire, but the aliens are shielded. The term “force field” had not yet been coined. Whatever the Martians shoot with their rays, both people and armaments, disintegrates. The soldiers retreat and leave it to the air force to deal with the enemy, but in vain.

Clayton and Sylvia try to escape in a plane, but the magnetic force pulls them back to the ground where they flee on foot. Animals also flee the area. The couple find shelter at a farmhouse. Dr. Forrester assures her that the Martians will be stopped because they are mortal. Their breakfast is interrupted by another falling ship from the sky. Besides the goose-neck probe on the top, another from below searches like a snake through the ruins. The visual effects are stunning, yet wires can be seen. Sylvia sees a Martian wandering around outside. The reptilian alien comes in, so Clayton injures it and even gets a sample of blood. They escape the house just before it burns down.

Hardwicke narrates the massacre of mankind with stock footage. Military leaders from different countries join together. They discuss the strategy of the Martians and the formation of their fighting units. Dr. Forrester brings the head of an alien probe that he had chopped off to the scientific institute. They also analyze the blood. The military loads the strongest hydrogen bomb ever made on a flying wing to target the location of the first landing. Countless spectators watch from the San Gabriel Hills. If they fail, the Martians will have conquered the world in six days, or as Sylvia points out, the same period as its creation. When the bomb fails to destroy the invaders, human effort is exhausted, except its faith in God. Forrester knows that they cannot beat their machines, so they need to use the blood to beat them. Los Angeles is being evacuated. Sylvia drives a group in a school bus, but Forrester’s truck loaded with scientific instruments is highjacked by a wild mob. Money is worthless, but people left behind fall to looting. He finds the school bus turned over and searches for Sylvia. Turning down a ride with military police, he runs to a church.

The clergyman prays for a miracle of divine intervention. Sylvia is not in that church. He goes to a Catholic church where we see a statue of Saint Joseph. He finds colleagues, but not Sylvia, so he runs to a Protestant church. As soon as he finds her, an alien vessel crashes on the street outside. Suddenly, the clamor ceases. People rise in silence. The miracle for which they had prayed happened. God used the littlest creatures to defeat the most powerful force. The story demonstrates the truth that people facing death often turn to God for their salvation, and so we all should. That profundity could hardly have been expressed in film any better.

03/16/2026

Jesus of Montreal
Shown on March 15, 2026

Lothaire Bluteau, Catherine Wilkening, Yves Jacques
Directed by Denys Arcand (1989) 120 minutes

Commentary
Jesus of Montreal by Denys Arcand is about a group of actors called upon to produce a Passion play, but they interpret the Life and Death of Christ in unorthodox ways which causes controversy. Meanwhile, events occur that seem like those of Christ, so even the real lives of the actors reflect the Passion of Christ. The Passion play was filmed at Saint Joseph’s Oratory on Mount Royal. It was nominated for an Academy Award and Golden Globe, but won neither, yet it won many other awards around the world. There is no doubt the artistry is very clever, but its religious message is adulterated. It stars Lothaire Bluteau, whom we saw as the Jesuit missionary in Black Robe, another irreverent story about Canada. The language is French but the film has been dubbed into English.

The story begins with a scene from a play in which the actors debate the existence of God and the resurrection of the dead. An actor falls to despair and hangs himself as the audience applauds the performance. A priest in a parish asks Daniel Coulombe, played by Bluteau, to modernize an old Passion play. He watches a video of a dreadful performance. Then, he rounds up other actors to join him. Next, he talks to a professor who says that the archdiocese limits what they can teach, yet there have been many new discoveries. Anonymously, he gives Daniel a copy of his research. A librarian asks him if he is looking for Jesus, then says that Jesus will find him. At the apartment of Constance Lazure, the actress, Daniel catches the priest in a guilty situation. Evidently, he never had the heart to be a priest, but he’s too old to be secularized. Daniel is invited to live there because, like Jesus, he has no place of his own to lay his head. Later, they visit an actor who reads a story about the cosmos as images of galaxies are projected on a screen. He says that the universe began without mankind and will end without us to. He is invited to join the troupe, but he suggests a woman instead, Mireille. She is filming a commercial. The actors gather and one calls the Passion play a tragedy.

They do a reading of the script in which Jesus is called Yeshu Ben Panthera, as if He was the son of a Roman soldier named Panthera. Each actor has lines about how little is known about Jesus from historical records. Even the Gospels were written by disciples who embellished the facts a “century” after Jesus. That reading segues into an actual performance one night on the grounds of the church with a crowd of parishioners. They walk from set to set guided by a security guard, who has to control a frantic woman who believes that Daniel is the Lord! Jesus performs miracles, like walking on water and healing the blind. When Peter calls him the Christ, Jesus tells them never to call Him that because He is the Son of Man. He is tied to a tree naked and scourged. Having nudity and other sexual content in a film about Jesus may be historically correct, but immodest. Daniel is crucified naked, but both knees are off to one side covering his groin. The audience is led into the basement which looks like a crypt for the scene of the Resurrection. The moral of the story is to find salvation within yourself. Of course, that kind of individualism is unorthodox because it denies the role of a priestly religion.

The audience loves the performance, but Father Raymond does not. Some of the people present, however, have whacky ideas about the Bible and numerology. The priest meets with Daniel in the crypt and tells him that it was crazy to portray Jesus as a bastard. Daniel says that the play was successful, but Father says that he does not want it to be its present form. He has to report to his superiors. Mireille auditions for a beer commercial. Actors demonstrate dancing skills. Mireille is asked to take off her sweatshirt, even though she has nothing on underneath. Daniel defends her by over-turning the tables and chasing people out with a cord like a whip, like Jesus chasing the businessmen out of the Temple. In another performance of the Passion play, Jesus attacks legislators and priests, walking up to three clerics in stylish suits. Do not be called Reverend Father or Monsignor or Your Eminence, he declares. The irreverence of the film and its unjust attack on religion is blatant. While hanging on the Cross, two police officers arrest Daniel! In court, he is offered legal counsel, but refuses and simply pleads guilty. The judge orders him to see a psychologist who recognizes his intelligence. A lawyer talks to Daniel high in a skyscraper, like the Devil taking Jesus to a high mountain and showing him the kingdoms of the world.

In the absence of Daniel, Father Raymond tells the cast that, after the other priests saw the play, they decided to go back to the traditional script. Suddenly, Daniel returns. Father tells him that the people of faith do not want to learn about new discoveries in archeology. He tries to defend religion. Daniel pleads to perform his play one more time. The security personnel at the shrine interrupt the performance to announce that it is cancelled. The audience brawls with them and Daniel is hurt and is taken to a hospital. The emergency room is mobbed with waiting patients. Daniel regains consciousness, so he leaves with his friends. He predicts that the tall buildings will come down, like Jesus predicting the destruction of the Temple. As he continues his apocalyptic murmurings, he tells strangers at a subway stop that they will have to run for the mountains. To another, he says that if you are on the terrace don’t go back in the house or if you are on the road, don’t go back home. Pray that things apocalyptic do not occur in winter. He collapses and is brought back to the hospital. This time, he is treated. Daniel lies with his arms out to his side in the hospital like Christ on the Cross. Finally, like Christ, he dies, yet supposedly lives on in others. Because of organ transplants, his body is shared to give life to others, thus implying a correlation to Communion.

In the last scene, the diabolical rich guy offers a contract to the remaining cast, who are the disciples of Daniel, to form a company of actors, institutionalized like the Church, and to make the character who played Peter the first president, like a pope. So, from the beginning, the institutional church sold out and failed to remain truly faithful to their master’s principles, and now the same is happening to the disciples of this new Jesus. It is a subtle yet insidious inference. The film is artistically masterful, but misleading. It shows how Canada, by 1989, was losing its faith in Catholicism and was trying in vain to justify itself by high-jacking the Gospel. The adaptation is cunning, yet its motive is malicious. It is certainly not for minors, yet Jesus of Montreal is an important movie to watch, but do so with discernment.

03/09/2026

Son of Man
Shown on March 8, 2026
Noluthando Boqwana, Andile Kosi, Pauline Malefane
Directed by Mark Dornford-May (2006) 86 minutes

Commentary
Son of Man, directed by Mark Dornford-May, was filmed and produced in South Africa. The setting is the period after apartheid which ended in 1994. This was released in 2006, but there were still struggles of power between the rich and the poor among the black population. The language is mostly Xhosa with little English. Although it was a big hit at the Sundance Film Festival, then won four awards and was nominated for seven others, the film was not widely distributed and was unprofitable. The story is an attempt to transpose the story of Jesus Christ into modern times in a completely different culture. So, it reminds me of Jesus Christ Superstar which brought the Gospel to the rock-and-roll culture of American hippies in the 1970s. All the actors are black, so race cannot be used to distinguish the protagonists from the antagonists. Although the film is entitled “Son of Man,” that term is never spoken.

The film begins with an African man dressed in white fasting in the desert and being tempted by another more modern looking man dressed in black holding stones. The Christ-figure does not respond verbally, even when told to throw himself down the cliff. After the third temptation, he says, “Get thee behind me, Satan,” and pushes him down a dune. Then, the Devil-figure appears surrounded in fire. Next, the scene shifts to a televised news broadcast of violence in the Kingdom of Judea, Afrika. Herod’s forces fight Democratic forces.

Next, we see characters like Joseph and Mary late in her pregnancy coming into a village. An announcement on a loudspeaker declares that Herod demands registration from everyone. Of course, it is like the census in Bethlehem. A man offers his shed to them, not a stable. Children shepherding goats, see many other children with white loincloths and wings stuck to their chests, implying angels. One boy is clearly Archangel Gabriel. The baby Jesus is born and the shepherds visit. Three men in colorful garments, like the Magi, come on horseback and worship the boy, who is already a toddler. The Holy Family flee Herod’s men, yet witness the killing of innocents.

Men bathe in a body of water, then cover themselves with white paste, symbolizing the cleansing of Baptism. After his Baptism, Jesus, now an adult, leaves his mother. He joins Peter, James and John wearing suits and fedoras, and carrying luggage and walking sticks. Preaching in a mill, he enlists Thomas and Bartholomew. Then, we see James the Younger and Matthew, Simone and Philippa fighting pursuers. So, even women are cast as apostles, using feminine versions of their names, including Thaddea and Andie. Thus, the film is not bound by the material facts of the Gospels. Judas appears to be a dealer of armaments. He gives them to the elders, Caiaphas and Annas. A broadcast of the news from the Judean provisional government announces the death of King Herod. The Army of the Democratic Coalition, representing the Romans, has taken control after decades of occupation. An interim government is installed. The Pilate-type governor is dressed as a general.

We hear Jesus preaching to a crowd of people in a small house about peace and forgiveness. Then, he goes on to talk about the economic and social issues of their times. The screenwriters took some liberties with the doctrine of the faith by putting their ideas into his mouth. Instead of a paralytic on a stretcher being lowered from the roof, a child taken from a wheel-barrow is lowered to Jesus, who does not forgive his sins, but revives him. He and the disciples travel by train or in the back of a truck like hobos.

The elders had given a camcorder to Judas with which he records the words and deeds of Jesus, so we may see an indicator in the corner of the screen for recording. The elders do not believe in his miracles. They want proof of his political ambitions. Meanwhile, graffiti artists paint scenes of a healing and an exorcism. Instead of the Sermon on the Mount, Jesus stands on an outhouse! He calls for a unified movement for human dignity. Solidarity is their rallying cry. Soldiers come saying that the gathering is illegal. Pilate imposes martial law. Like the triumphant entrance into Jerusalem, Jesus is carried on a trailer through a cheering multitude. In a meeting with the elders, they tell Jesus that sharing power with the interim government is their hope. They are like the Sanhedrin with a majority of Sadducees collaborating with Rome. The elders show the video to Pilate who claims that he cannot do anything about Jesus. Like Pilate washing his hands, the governor spills water from a pitcher and wipes his hands with a napkin.

Mary arrives by public transportation. Jesus has a vision of himself hanging on a cross. In the scene of the last supper, Jesus passes a metal can around. After announcing that one of them will betray him, Judas storms out. The Agony is on the side of a road. Jesus is arrested, interrogated, beaten and quickly killed. They drive his body to a deserted area and bury it. His mother, Mary, leads a protest against the leaders of the Democratic Coalition. She is told that her son is dead and is taken to his grave. With her hands, she digs him out and holds him in the back of a pick-up like the Pieta. They tie him to a cross with red ribbons, like streams of blood. He is displayed on a height above the village. The military arrives and tries to disperse the crowd, but Mary leads them in a unifying chant. This episode is summed up on another wall with graffiti. Suddenly, Jesus is resurrected and all the angelic boys rejoice. They walk up the hill as if Jesus were ascending into Heaven accompanied by the angelic hosts.

Despite 17 minutes left, the film comes to an abrupt end. Son of Man is a very clever adaptation of the story of Christ into a completely different time and culture, yet with enough similarities to show that the Gospel is relevant always and everywhere. The message is one of peace in a time of violence and of hope for the poor and disenfranchised. It is beautifully creative.

02/23/2026

The Courage to Love
Shown on Sunday, February 22, 2026

Vanessa Williams, Stacy Keach (2000) 95 minutes
Directed by Kari Skogland

Commentary
The Courage to Love by Kari Skogland is the story of Mother Henriette DeLille (1813-1862). Her father was from France, yet one grandfather was from Spain and she also had Creole ancestry. Being one eighth black, she was an octoroon, who lived in Louisiana. Her grandmother was a quadroon. Henriette founded the Sisters of the Holy Family in 1836, a congregation of African-American women. Mixed marriages were illegal, but she opposed “plaçage,” an extralegal system in French colonies allowing common law unions between white men and women of mixed races. The cause for her beatification began in 1988. She is played by Vanessa Williams, whose children and brother also have roles.

The film begins with Henriette DeLille teaching girls, then running to church. Her white father, Jean-Baptiste Delille, played by Stacy Keach, owns a plantation. He is tough with slaves, but kind to his colored mate and children. We are soon introduced to the culture of the upper class of New Orleans. At the waterfront one day, she offers fruit to a group of slaves, but she is stopped. Henriette breaks with local traditions for the sake of justice.

She meets a French doctor, Gerard Gaultier, played by Gil Bellows. She and her mother find her father with a white lady in public. He needs to produce a legitimate heir. He admits that he is going to get married. Jean-Baptiste gives the house and its slaves to his mate, Marie-Josèphe “Pouponne” Díaz, so she sends him away. Pouponne is played by Diahann Carroll. Henriette refuses to go to the ball to get a mate if she cannot be properly married in church, but she does go. She brushes off Paul Cartier, who had made arrangements for her, in favor of Gerard Gaultier. She walks away with Gaultier, saving him from a duel. Her mother is upset, but Henriette refuses to live her kind of life. Her mother throws her out, so she finds refuge in church. Next, we see her feeding poor blacks. The doctor joins her ministry. Meanwhile, Pouponne has a nervous breakdown. Gerard and Henriette worked together and grow fonder. He talks of science, but she of her faith in God. When a twelve-year old girl is impregnated, Henriette confronts the white master, Frank Morgan, calling him an adulterer. Her father was present and takes her home. She pities him and his class for their sense of superiority.

Gerard proposes marriage to her, saying that they could be legally married in France. She does not accept or reject the proposal, but considers it. She eventually agrees to meet his parents. Meanwhile, Morgan does not like seeing so many colored people in church, so he complains to the bishop who goes to the church to investigate. He finds that the women are dressed alike, as if in a habit. The priest explains that they sold their dresses and settled for something more practical. The bishop recognizes that it is the work of God, but he faces powerful opposition. The young girl gives birth, but the baby is already dying, so Henriette baptizes the girl. Gerard loves her, but his family is prejudiced. Her sister, Cecelia, gets a fever. The doctor treats her while Henriette prays, then both claim that they healed her. Just when she is about to go to France with him, she recognizes that God is calling her to be in New Orleans. She knows that God is working through her. Although she dedicates herself to the ministry, the bishop, pressured by the masters, disbands the group of women.

Henriette, however, raises funds to buy a building and transform it into a church and convent for colored people. The bishop blessed the chapel, but the masters are displeased. The women spend time in a novitiate to learn about religious life. Although the novice mistress is mean, mother superior is wise and helpful. An epidemic strikes the city and even Morgan is afflicted. The hospital is full, so the infirmary for minorities takes in anybody. Morgan is brought so low that he begs forgiveness. Gerard sends quinine and his love.

The masters, though, come at night to burn the church down. The culprits prevent the blacks from fetching water but the bishop intervenes. Later, as she is wiping the soot off the face of Our Lady, Bishop Blanc stops her, as if he wants the Blessed Virgin to look black. After her husband died, Anne Morgan frees her slaves, including Jacques. In a postlude, we learn that their congregation received Roman approval and that they acquired the old ballroom as a school. So, the place where plaçage was once practiced became a place of Christian ministry.

The Courage to Love is a beautiful story because it shows how a heroic woman faced the trials of life, whether the sorrows that result from sin or the temptations that come from selfish pleasure. She overcame all difficulties because she remained focused on God and His righteousness. Although it is hard to face the ugliness of unjust discrimination in the early 19th century, we see how slavery was coming to an end because of people like Mother Henriette DeLille.

02/16/2026

A Time for Miracles
Shown on Sunday, February 15, 2026

Kate Mulgrew, Lorne Greene, Jean-Pierre Aumont, John Forsythe
Directed by Michael O'Herlihy (1980) 97 minutes

Commentary
A Time for Miracles by Michael O'Herlihy is the story of Elizabeth Ann Seton (1774-1821), the first American to be canonized. She was born in New York, established the first school for girls in Emmitsburg, Maryland, yet the movie was filmed in Georgia. It stars Kate Mulgrew, who later became famous for 168 episodes of Star Trek: Voyager from 1995-2001, besides a few Star Trek movies. She was 25-years old at the time of production. Coincidentally, her brother, Sam, is the business manager for the casket-making operation of the Trappist monks at New Melleray Abbey in Peosta, Iowa.

The story begins in Rome in 1964 with John Forsythe as the episcopal postulator arguing for her cause of canonization. He reports that a third miracle has been confirmed, yet they need four to meet the standard. Later, he reads her biography, as if to narrate a flashback of her early life. Elizabeth Ann Bayley was highly educated and, at 19-years old, married a wealthy businessman, William Seton. They were Episcopalians in New York City and had five children. One Christmas day, William learns that his fleet was attacked by pirates. Next, he contracts consumption. Elizabeth had to sell most of their possessions to pay their debts. To help William recover, they go to Italy in 1803 for the climate. They hope to stay at the home of Filippo Filicchi in Leghorn with their eldest daughter, Anna. Unfortunately, because of news of yellow fever in New York, William is kept in quarantine. There, in poverty, he dies. She is offered a black garment which is customary for widows. Hence, it becomes like a religious habit for her. Indeed, the chastity of the celibate life is akin to widowhood. The Filicchi home had its own chapel and there, Elizabeth attended Mass. Antonio Filicchi, another former partner of her husband talks to her about prayer and miracles. They are attracted to each other. They sail to America together but Antonio is married.

She is reunited with her family. They open a school for her: Mistress Seton School for Young Gentlemen and Ladies. She visits a priest and requests admittance into the Catholic Church, but he warns her that Catholics are despised and mistreated. The priest is played by Milo O’Shea who was Friar Laurence in Romeo and Juliet. One night, at a service of carols, the church is attacked. Her ancestors were Huguenots who fled France to avoid persecution, but just as they had rebelled against the Catholicism, now she rebels against Protestantism. They try to persuade her not to convert. Parents will no longer allow their children to be her pupils. In 1805, Elizabeth received her first Communion, with her children. One night, Antonio visits and tells her that he spoke to Bishop Carroll of Baltimore. The diocese will give her a little school and her boys can study at Georgetown.

The scene then shifts to Baltimore in 1808. She meets the bishop played by Lorne Greene, renown for 430 episodes of Bonanza from 1959-1973! He mentions that he was the only Catholic to sign the Declaration of Independence. She explains her view of education, noting that she does not use corporal punishment. Her school does well. Then, the bishop introduces her to a French priest, Father Dubois, played by Jean-Pierre Aumont. They talk to her about Baltimore, the Daughters of Charity and about a farm in Emmitsburg, Maryland. She suggests teaching the poor who cannot pay. She is willing to be a sister, yet they also ask her to be a foundress! Having read the rule, she declines the offer because there is no room for widowed mothers, so the bishop changes the rule. They will be the Sisters of Charity of Saint Joseph, a branch of the Daughters of Charity. Then, she receives her first novices. Their habit will look like her widow’s attire with black caps and capes.

It took three days to travel 50 miles. By 1809, her boys were at Mount Saint Mary’s and she had her school at Emmitsburg. They find the farm house in disarray, but they quickly clean it up. She visits a rich man to obtain finances. One farmer refuses to allow his daughter to go to school with a Catholic teacher, but she argues that subjects like reading and arithmetic have no religion. When the bishop sees the condition of the place in the cold of winter, she persuades him to build a new building quickly. She tells the foreman to have the architect correct the plan to put in a chapel. With the new building, the order grew. Her daughter, Anna, however, died from consumption. Father Dubois is replaced by Father Brute. Tragedy strikes again when her daughter Rebecca dies from consumption, however, she gains a kind of daughter when she wins the trust of a rebellious orphan. Bishop Carroll tells her that the Diocese of Philadelphia has invited the Sisters of Charity to manage an orphanage, so his dream of the order spreading is realized. Her son William, unhappy with life at Mount Saint Mary’s, joined the Navy, but a dream of his mother during a storm at sea saved their lives and reawakened his faith. On her deathbed, she takes account of her work and what was left unfinished. Father Brute tells her that the sisters have gone to many places, but she says that the faces are more important than the places.

In the end, we are back in modern times with John Forsythe as the episcopal postulator arguing that the fourth miracle required for canonization is her legacy to children and the needy. Lastly, we see a newsreel of Vatican Square on September 14, 1975, for the canonization by Pope Saint Paul VI. So, an actual saint appears and speaks in the film! The postlude explains that the pope dispensed with the need for a fourth miracle. The title of the movie, A Time for Miracles, is not so much the need for the postulator to prove her sanctity with supernatural healings as it is the miraculous fruit that Saint Elizabeth Ann Seton bore for our time. The film is well done and it can touch hearts deeply.

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