A Review of Cabrini -- A saintly biopic marred by boring Hollywood tropes

My wife and I went to see Cabrini last night. Given the mixed yet passionate reaction to the film by a variety of folks whose opinions I respect, I was looking forward to it. Having now seen it, I think the mixed reaction is completely appropriate.

On the positive side, the film had a lot of spoken Italian in it which was fun. It was also well acted and beautifully shot, with a moving soundtrack that reminded me of a cross between The Village and Master and Commander. Though there have been some complaints that Catholic spirituality is not overtly put into the mouth of a Catholic saint (a valid complaint to be sure), Catholic spirituality saturates the background of the film. There are crosses and other Catholic symbols in practically every scene, and several scenes take place in beautiful Catholic churches and buildings. So we end up with some beautiful Catholic settings for a not particularly Catholic film.

The lead role was well played by Cristiana Dell'Anna who provided a convincing likeness of Mother Cabrini. Pope Leo XIII is played sympathetically by Giancarlo Giannini, though I thought he resembled Pope Pius IX more than Leo XIII.

That said, I felt that the film was too dark and brooding for the story of a Catholic saint. The first third of the film is purposely dark, focusing on Mother's illness and all of the "no" answers she receives from the men who are in positions of authority over her. The film does lighten up in spots, but the overall ambience is darkness and obscurity.

What truly drove Mother Cabrini was left largely unexplored. The inferences one must draw from the film are the typical boring Hollywood tropes -- follow your heart; don't let the naysayers get you down; I am woman, hear me roar. The film presents a woman primarily motivated by an altruistic desire to help other Italians. So rather than being driven by the Gospel message of Jesus Christ to take care of the poor, Mother is portrayed, rather, as the celibate CEO of an Italian NGO in America. There is also an insinuation that she is at least partly driven by spite. Every time she faces an obstacle, the Cabrini in the film hears in her head an admonition given early in the film by a patriarchal archbishop: "Stay where you belong." This very worldly urge, rather than any divine inspiration, seems to motivate her to do bold things.

The film also spent considerable time building up the Italian immigrant-as-victim trope. While nativist sentiments were no doubt major obstacles for the first waves of Italian immigrants coming to America, there was another issue at play that the film studiously avoids: the hatred of Catholics by the largely Masonic ruling elite. (This particular angle was effectively brought to the fore in the film For Greater Glory, another imperfect though more inspiring film.) Though forty years after the height of the KnowNothing period when Catholic churches were torched in several cities, there was still a strong antipathy toward Catholics among the upper echelons of American society that persists to this day. While it wasn't long before Italians were accepted as Americans, devout Catholics have never really been. If you need evidence of that, consider the overtly anti-Catholic emails of Hillary Clinton campaign chair, John Podesta in 2016, or how our current "Catholic" president's Department of Justice classifies traditional Catholics among potential terrorist groups.

As other reviewers have pointed out, the filmmakers also managed to turn Mother Cabrini into something of a Mary Sue. Whatever she accomplishes, she does via the force of her own powerful will. She draws her strength not from God nor from the Gospel, but from within herself. That is not a Catholic mentality at all, and I'm sure the real Mother Cabrini would have been horrified at being portrayed that way. This seems to have been done in service to a narrative that is not in keeping with the actual life of the saint.

In the movie, Mother Cabrini achieves her final victory via political blackmail -- threatening the mayor of New York that she will unleash a negative publicity campaign against him and work to get him defeated in the next election unless he allows her hospital project to go forward. She also indicates that she is willing to help him if he helps her -- a sort of "pay to play" arrangement. The fictitious Mayor Gould (who is portrayed effectively by John Lithgow as a racist political animal) is impressed by Mother's rather savvy tactics and agrees to her terms. I have no idea how much of this scenario is based on reality, but it didn't strike me as a particularly fitting denouement to a biopic of a Catholic saint.

So overall, I give Cabrini two stars. It's worth watching once, but having now seen it, I have no desire to see it again. Instead, I'll go and read more about The Intense Catholic Spirituality of Mother Cabrini.

I, being of mostly German ethnicity, could go to either one. The Italian one was more cheerful and had better music, but was further from my apartment, so I usually ended up at the Irish one.

We saw the movie last weekend with some friends.

Had no expectation going in, but what I saw was a very well executed film—very high production values, earnestly acted, with a strong message of good.

The movie lacked the real and despicable Hollywood tropes of anti-Catholicism, Bible mocking, and sneering leftism.

The border is first and foremost on most of our minds, and at first the seeming pro-migrant message felt preachy, but in any other time and place all of us would admit we trace our roots to immigrants.

While the struggles between politicians and their ‘tribes’ vs. the ‘tribe’ of the pope, bishop, and Mother Cabrini lacked the pious genuflection you might have gotten had Spencer Tracy or Bing Crosby been the lead, the real struggle—in fact every struggle on earth—is ultimately among men and women.

Divine intervention, if it is to be had, is not actually obvious, and sometimes prayer can’t match grit, determination, and blood sweat and tears.

I give it 3.5 stars.

One funny thing. They mostly stayed bilingual but many on visiting Italy, to their parents towns, whether in Sicily or Calabria or the Alto Adige, the locals had trouble understanding them...

Yup. My mother had the same problem. She grew up bilingual in the US in the 1940s and 50s. When she spoke to her younger cousins in Italy in the 1990s, they all laughed at her Italian because it was so old-fashioned. It was as if we were speaking to someone who spoke Victorian English.

I lived for awhile in (rather small) suburb of Boston. This rather small suburb had two (rather small) Catholic churches. Why two rather small churches, instead of one larger one, you ask? Well, obviously: one was Irish, the other was Italian.

No surprise there. That's how the neighborhoods worked in Boston as well. Churches in the North End were all Italian. Churches in "Southie" were all Irish. These days, however, I think actual Catholics are as rare as hen's teeth in Boston. It's sad.

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