Film Review: 'Of Gods and Men' an excellent and moving exhibition of monastic life in revolutionary, insurgent Algieria
by Peter Menkin

Michael Lonsdale as Luc
© Marie-Julie Maille / Why Not Productions, Courtesy of Sony Pictures Classics

This well wrought film with its many awards (first prize) from Cannes, New York, and other important places gives a fine dramatic look at a monastery in Algeria caught in the Algerian revolution, a throw-the-French-out historic event set in the later 1990’s. A true film based on the historic story, and a dramatic rendering of excellence, the language of prayers with the use of introspective reflection on their situation by the monks of the monastery hold a poetic lilt.

Simplicity of a kind in the cinematography added to this clarity of their conflicts about staying in their dangerous and acknowledged life threatening situation. Algerian insurgents would and could kill them all at any time, and though the monks struggled with their feelings about entering into a situation that would end in their martyrdom, this heroic tragedy in the life of a monastery did not evidence melodrama in its acting, it did evidence the fear of death and end of their monastic lives with God that played out throughout almost the entire movie. The actors were true to character, intelligent in their skill of acting, and gave a sense of commitment and peace through their performances.

The Algerian war was a founding event in modern Algerian history. It left long-standing scars in both French and Algerian society, and still affects some segments of society in both countries to this day. So says Wikipedia, and it also offers this quotation about that time in French and North African history, the worldly back drop to the quiet life of peace and prayer lived by the monks in their life among Muslim villagers—a long relationship of more than one generation of monks.

The Algerian War, (Arabic: ثورة جزائرية‎; French: Guerre d’Algérie), was a conflict between France and Algerian independence movements .

Left to Right: Lambert Wilson as Christian and Jean-Marie Frin as Paul
© Marie-Julie Maille / Why Not Productions, Courtesy of Sony Pictures Classics

from 1954 to 1962, which led to Algeria gaining its independence from France. An important decolonization war, it was a complex conflict characterized by guerrilla warfare, maquis fighting, terrorism against civilians, use of torture on both sides and counter-terrorism operations by the French Army. The conflict was also a civil war between loyalist Algerian Muslims who believed in a French Algeria and their insurrectionist Algerian counterparts.

This excellent movie that this writer rates with five stars with its well defined and even underplayed, insightful actors who caught the prayer life and rhythm of monastic life so well through the direction of Xavier Beauvois won the Cannes Prize, New York Film Festival Prize and many others. It was not an Oscar choice in the United States so is not on that list for voting.

“The film is inspired by real events, as was reported in this review earlier–the still not entirely explained kidnap and murder of seven monks in Algeria in 1996 – but the narrative leads slowly round to the tragedy, which happens only at the very end, and largely off-screen.

“In a Cistercian monastery in North Africa in the 90s, eight monks live in cordial harmony with the local population.” So writes Jonathan Romney in “Screen Daily.” Since he as a reviewer puts it so well about the director, here is a quotation from his review as displayed on “Screen Daily’s” website: “One-time enfant terrible Xavier Beauvois has long been a respected presence on the French scene, making his name with dramas such as Don’t Forget You’re Going To Die (1995) and the police story Le Petit Lieutenant (2005). With Of Gods and Men, his time for wider recognition has surely come, this thoughtful but urgent piece showing that Beauvois has matured into a masterly director with tight, calm control of his material.”

Relyiing on his opinion on the history of Director Xavier Beauvois’ work, suffice it to be known when watching the screening on a cold and windy day in San Francisco at the Variety Club screening room, it was apparent to this reviewer that the pacing and beat of the played cinema

Xavier Beauvois (director)
© Claude Laire, Courtesy of Sony Pictures Classics

m moved the based-on-a-true story drama to engaging and believable contemporary film experience. I liked this film a great deal.

For this writer, when two monks attended a Moslem celebration earlier in the film, afterward, later, one character who was a doctor told a young woman regarding love of his call to the monastery and living his monastic vocation: “I answered another love, even greater.” The monks were intimately involved in the lives of the villagers, even to the extent of visiting private, personal Muslim religious ceremonies and listening to a young woman’s romantic love life.

That exemplifies the kind of language use of dialogue in this film: just enough to say.

Screenwriter Etienne Comar writes of his work:

Though rated PG-13 there is some violence, and just a touch of blood. Croations building a roadway are slaughtered, throats cut, by Algerian insurgents, for they are foreigners. The monks are offered French military protection after this. When the French officer asks the leader of the monks, after he refuses their protection, “What do you want?” the monk replies, “This is a house of peace.” This is a dramatic and moving moment, underplayed in its manner of drama, but effective in communicating a chilling reality of the monk’s values and purpose in life.

OF GODS & MEN is loosely based on the Tibhirine tragedy. It explores the last few months in the life of this small community of Christian monks in a “Muslim land.” The film is more interested in capturing the spirit of the events and what was at stake in the community than in recounting the exact details of a historic reality.

The story begins several weeks before the terrorists issued an ultimatum ordering all foreigners to leave the country. An armed terrorist group even broke into the monastery on Christmas Eve.

Top row, left to right: Lambert Wilson as Christian, Jacques Herlin as Amédée, Loïc Pichon as Jean-Pierre, Michael Lonsdale as Luc, and Philippe Laudenbach as Célestin
Bottom row, left to right: Olivier Rabourdin as Christophe, Jean-Marie Frin as Paul and Xavier Maly as Michel
© Alice Cambournac / Why Not Productions, Courtesy of Sony Pictures Classics

There are many moving moments in this film; one moving performance is when the leader of the monastery, Christian, faces Ali, leader of the Algerians, for the first time. This is the start of a realization on the part of the monks that they may be killed, and that the thought dawns on them they may become martyrs if they stay. Some words during prayer offer what is a seeming contradiction after this scene, but these words and their prayer that they chant really illuminates and bears the hope of their lives, and a statement about God’s goodness and purpose for mankind: “God has prepared the earth like a cradle.” God is forever; man is but a passing figure, like the grass, he withers. Yet God holds man in a divine love, and finds a resting place for him…even in life there is this cradle for mankind made by God. So one interpretation by this writer goes.

The monastics move on in their recognition the Algerians may kill them, and they are afraid to die. In their prayer session, again a statement that written here appears blatant, but is really quite moving in its context—so this viewer found—“Glory be to the Father, Son, and Holy Spirit. We shall watch with Christ.” There is this ongoing joy, in both the secular and religious sense offered in these lines.

There is some of the anguish of the decision to stay in the monastery, rather than flee, return to France. As one monk says, “Dying for my faith should not keep me up nights.” At one of their meetings of the monastery members, the leader Christian polls the monks, and finally all raise a hand to stay. At one point during prayer, which is a frequent activity in the monastery, they sing, “…For you night is as clear as day.” So one sees this vision of even the monastic who is vowed of his coming end and martyrdom is not so easily made as a way to travel—voluntary death, in its way. The way to martyrdom is not so clear a way when looking ahead or one suspects even living it.

So as not to ruin the film for a viewer, but still because the long scene at the film’s end is so strong, let me note the Algerians come in the snow of winter and take all away but two monks who had hidden from them in the monastery. Held as hostages, most die when we see them march into a field, in the snow, entering the woods.

It is so surprising to this writer that the film did not become part of the American Oscar scene this year. I will offer my surprise again in a few lines.

This writer remarks that Jon Frosch writes on the website “French Review,” Still, the omission of Xavier Beauvois’s critically beloved “Of Gods and Men” (“Des hommes et des dieux”) in the Best Foreign Language Film category of Oscar nominees has raised some eyebrows and hurt a few feelings in France. Adding salt to the wound is the fact that the Academy nominated Rachid Bouchareb’s “Outside the Law”, an Algerian entry accused by several French politicians of being anti-French.” This writer wishes to add his voice to the statement by Jon Frosch, offering surprise that it was not included in the American Oscar competition. Too bad.

Franck Garbarz, a critic for prestigious French film magazine Positif, told France24.com that the French reaction was one of “hurt pride”, and admitted he would have rather seen “Of Gods and Men” nominated. This writer notes from the sense of history and current concerns in the relations of Muslims to Christians and terrorism in our contemporary word it seems an odd thing to ignore the film, which will on its own merits without Oscar publicity reach a good sized movie going audience. Go see it; you will be happy you did.

The Press statement offered by Sony Corporation reads:

Left to Right: Philippe Laudenbach as Célestin,
Xavier Maly as Michel, Lambert Wilson as Christian,
Jean-Marie Frin as Paul
and Loïc Pichon as Jean-Pierre/ (Backs to camera)
Left to Right: Michael Lonsdale as Luc and Jacques Herlin as Amédée

© Why Not Productions, Courtesy of Sony Pictures Classics

In 1996 the kidnapping and murder of the seven French monks of Tibhirine was one of the culminating points of the violence and atrocities in Algeria resulting from the confrontation between the government and extremist terrorist groups that wanted to overthrow it.
The disappearance of the monks – caught in a vice between both sides- had a great and long-lasting effect on the governments, religious communities and international public opinion. The identity of the murderers and the exact circumstances of the monks’ deaths remain a mystery to this day.



The case was taken up by a French court in 2003. Certain documents were recently declassified. In the upcoming months, new revelations may finally bring the truth to light.


The use of Psalms by monks is well known in their prayer life, study, individual prayer and liturgy of worship. Monastic advisor for the film “Of Gods and Men” offers this longish comment on the Psalms used in the movie:

He says…as they relate directly to the increasingly serious events that are shaking the monastery and the region [these words are spoken by the actors in this based on a true story rendition of filmic excellence].

The enemy persecutes my soul
He has smitten my life to the ground
He has made me dwell in darkness
with those long dead
My spirit grows faint within me
My heart within me, dismayed (Psalm 142)

Lastly, the monks’ choir is the heart of God. This chorus intervenes as it would in a Greek tragedy, as a theological and spiritual commentary of the action. The songs give God words, and God gives his Spirit of communion and peaceful resistance to the monks who are caught up in the turmoil of an increasingly menacing and problematic violence.

To the worrisome drone of a helicopter whirring above the monastery, the community opposes a mystical and disarmed hope:

The shadows, for you are not shadows
For you, night is as clear as day.

The military apparatus disappears, but the question lingers: should one stay or leave? The community meetings will not suffice. The answer lies in the word of God, listened to, meditated upon and celebrated:

Save us, Lord, whilst we watch!
Keep us, Lord, whilst we sleep!
And we shall watch with Christ
And we shall rest in peace…

Under the audience’s gaze, the monks sing their life and live their singing–to the extreme:

Because he is with us in this time of violence,
let us not dream that he is everywhere
other than where we die.
Let us make haste.

Kidnappers and monks disappear in the snow and the fog. They all take on the color of the liturgical clothes in which the brothers prayed and sang.

In the heart of winter, the paradoxical victory of Light:

We do not see your face,
Infinite Love,
but you do have eyes
for you weep through the oppressed
and look upon us
with a shining gaze
that reveals your forgiveness

 


This review was written for and originally appeared in The Church of England Newspaper, London.

Film Review: "Into Great Silence"

An edited transcription from a public email discussion of “Into Great Silence” indicates that this film is a winner: director Philip Groening's study of the Grande Chartreuse monastery.This is the opening email, written by Father R. and talks about the main character of the movie. Keep in mind that the film is silent, with subtitles, and that it took sixteen years for the filmmaker to receive permission to film the inner life of the monastery. Father R. writes in his message:

“Fr. Laurence Freeman…made a fascinating point, that the major character of the whole is the mysterious God, there everywhere: in the monks, in the hallways and the church, out in the fields. And the implication is that God should be the main character in our lives, in our hallways and church and fields.”

The life of a monk is one dedicated to God. “Into Great Silence” documents the events in the life of monks who live in a Carthusian monastery in France. The DVD I own has two disks, with the second disk containing a statement by Cardinal Pupard, (that is an added attraction and insightful words on the cultural merits of "Into Great Silence"). There are other interesting commentaries on the second disk. Regarding the film, which is on the first disk, I found this a powerful film.

In response to Father R., I wrote in my public email:

“Dear Father R.
"I like what you say about the film ("Into Great Silence"), for it is so apparent and yet not noticed as you've said: The mysterious God. That's part of the mystery. Thanks for the surprising observation.The photography (cinematography) is excellent, so artistic and spare, adding to the silence and simplicity. The director captures the pace of life in the monastery effectively. It helps in viewing the film. Many fine shots, like stills. This is a good documentary, and a work of art.I received my 2 CD set as a birthday gift, bought from Amazon.com. The experience of watching the film helps me to fill out the sense of community and relationship between monks and with God. I'm lucky to be reading Aquinata Bockmann, "Expanding Our Hearts in Christ, Perspectives on the Rule of Saint Benedict." Film is a powerful help to the imagination, and this film brings outa sense of lives committed to Christ. For not only is that a message in this film, it is also a message of Sister Bockmann’s book.”

There are many special moments in this film: the changing of the seasons, the rhythm of daily life through the seasons, and even the faces of the monks looking into the camera. This series of portraits is in itself interesting. During the email discussion, Anne wrote of her delight and interest in seeing the faces of the monks:

In response to the power the film held for this religious woman, Anne a viewer of the film, said:

“What they seemed to be saying to me was -- We have found it: the thing everyone in the world looks for, the deepest longing of every human heart: we have discovered it. Their faces radiate a celestial joy and a peace from beyond themselves. Something in my soul reached back out to them in longing and recognition and love. It's a moment that makes your heart whisper a long 'yes.'”

She saw in the film men fulfilling their lives. This is a positive film, filled with a kind of awe. The awe is in the life of these monks, as how they live and what they do in their prayers and dedication. It is in their peace, and their connectedness to the Almighty.

For the individual or group interested in religious subjects, wanting to learn more about life in a monastery, or what it is to dedicate one’s life to Christ, this film is an excellent choice. For film buffs interested in an artistic and visually beautiful film, this is an excellent choice. For seekers of God who wish to see what a group of people are like who make God primary in their lives, this choice of film is helpful and edifying. In fact, in its form, style, and method, this is an edifying film.

--Peter Menkin, Pentecost 2007 (November)

This review is posted on Amazon.com.

Book Review: "The Genesee Diary"

For the Catholic Priest and writer, Henri J.M. Nouwen, writing about visiting a Trappist Monastery is more than a diary, a visit to a monastery, it is a statement of insight and inspiration by a writer who starts his book with the simple words, "Thanks be to God that I am here!" Like the report on his visit, his words are heartfelt. The title is descriptive and straightforward, like the book itself: "The Genesee Diary: A Report from a Trappist Monastery."

A sincere, remarkable memoir by the writer, I was taken with his willingness to seek God and in his seeking come to terms with his life and relationship in Christ. Although it is a religious book, no doubt, the light hand of the well-known Henri J.M. Nouwen will not disappoint a wide readership. After all, this popular and well-regarded work has stood the test of time since it was first published, and, happily, is available again to a new generation of readers.

In his honesty, Nouwen says at one point about his conversations of spiritual direction with the Abbot John Eudes, "If I allowed no one but the Lord to determine my identity, would I know the Lord? Or is it a fact that even in my meditation I relate to the Lord as I relate to people--that is--by manipulation and projection."

Please don't be misled; this is a good man telling of his struggles, a brilliant man, even. Once a professor at Harvard, his time at Genesee brings him to say, "...I can slowly detach myself from this need for human affirmation and discover that it is in the relationship with the Lord that I find my true self, an unconditional surrender to him becomes not only possible, but even the only desire..." We journey with Father Nouwen as this unfolding reveals what he hoped for by staying at the monastery, not only for reflection and meditation, but also a coming to himself.

It is fair to say this book is about God and man; as part of his explanation, the writer states how the means to that end is prayer: "Speaking about prayer, I asked John Eudes a question that seemed very basic and a little naïve: `When I pray, to whom do I pray?' `When I say `Lord,' what do I mean?" In his quiet way, almost unnoticed by the ease of manner in the writing, the book addresses many most important questions. That is what Abbot John Eudes calls this particular insight about prayer, "...[a] most important question."

I found this book a book about love. "I would like to think a little more about love," he says, and he writes of how the monastery is a place of relationships. We learn how the monks live out their lives in Christ. We learn how he joins them, and they especially offer a hospitality that is one in Christ. Henri J.M. Nouwen comes to find this love, which teaches him, aids him in his ruminations and self-appraisals of his relationship and life in the world. After all, this is a book about a retreat. An admirable and readable hardback title published by Doubleday in my copy, certainly an asset to anyone's need for spiritual direction in the form of a report, and an asset as a book that fills the need for a just plain good read.

--Peter Menkin, Pentecost 2007


This review appears on Amazon.com.