The Shoes of the Fisherman
|The Shoes of the Fisherman|
Theatrical release poster by Howard Terpning
|Directed by||Michael Anderson|
|Produced by||George Englund|
|Screenplay by||John Patrick
|Based on||The Shoes of the Fisherman
by Morris West
Vittorio De Sica
|Music by||Alex North|
The Shoes of the Fisherman is a 1968 American drama film based on the 1963 novel of the same name by the Australian novelist Morris West. Shot in Rome, the motion picture was directed by Michael Anderson and released by Metro-Goldwyn-Mayer.
Set during the height of the Cold War, The Shoes of the Fisherman opens as protagonist Kiril Pavlovich Lakota (Anthony Quinn), the Metropolitan Archbishop of Lviv (or Lvov as it is spelled in the movie adaptation), is unexpectedly set free after twenty years in a Siberian labour camp by his former jailer, Piotr Ilyich Kamenev (Laurence Olivier), now the premier of the Soviet Union.
He is sent to Rome, where the elderly fictional Pope (John Gielgud) makes him a Cardinal in the title of St. Athanasius. Lakota is reluctant, begging to be given "a simple mission with simple people," but the Pope insists that he kneel and receive the scarlet zucchetto that designates the rank of cardinal.
When the Pontiff suddenly collapses and dies, the process of a papal conclave begins, and Cardinal Lakota participates as one of the electors. During the sede vacante, two cardinals in particular, Cardinal Leone (Leo McKern) and Cardinal Rinaldi (Vittorio De Sica) are shown to be papabili (candidates). After seven deadlocked ballots, Lakota is unexpectedly elected Pope as a compromise candidate (suggested by Cardinal Rinaldi) by acclamation after the cardinals, unable to decide between the leading candidates, interview him and are impressed by his ideas and his humility. Lakota takes the name of Pope Kiril. Meanwhile, the world is on the brink of nuclear war due to a Chinese–Soviet feud made worse by a famine caused by trade restrictions brought against China by the United States.
The evening after his election, Pope Kiril, with the help of his personal aide Gelasio (Arnoldo Foà), sneaks out of the Vatican and explores the city of Rome dressed as a simple priest. By chance, he encounters Dr. Ruth Faber, who is in a troubled marriage with a Rome-based television journalist, George Faber (David Janssen). Later, the Pope returns to the Soviet Union to meet privately with Kamenev and Chairman Peng (Burt Kwouk) of China to discuss the ongoing crisis.
Pope Kiril realises that if the troubles in China continue, the cost could be a war that could ultimately rip the world apart. At his papal coronation, Kiril removes his tiara (in a gesture of humility) and pledges to sell the Church's property to help the Chinese, much to the delight of the crowds in St. Peter's Square below.
A major secondary plot in the film is the Pope's relationship with a controversial theologian and scientist, Father Telemond (Oskar Werner). The Pope becomes Telemond's close personal friend, but to his deep regret, in his official capacity, he must allow the Holy Office to censure Telemond for his heterodox views. To the Pope's deep grief, Father Telemond dies.
- Anthony Quinn as Kiril Lakota/Pope Kiril I
- Laurence Olivier as Piotr Ilyich Kamenev
- Oskar Werner as Fr. David Telemond
- David Janssen as George Faber
- Barbara Jefford as Dr Ruth Faber
- Vittorio De Sica as Cardinal Rinaldi
- Leo McKern as Cardinal Leone
- John Gielgud as The Elder Pope
- Burt Kwouk as Peng
- Arnoldo Foà as Gelasio
- Leopoldo Trieste as Dying Man's Friend
- Frank Finlay as Igor Bounin
- Rosemary Dexter as Chiara
- Clive Revill as Vucovich
- Niall MacGinnis as Capuchin friar
- Isa Miranda as Marquesa
Anthony Quinn was announced as the star of the film relatively early. The original director was to be British director Anthony Asquith, but he became ill in November 1967 (and eventually died a few months later) and was replaced by Michael Anderson.
The papal tiara used for the coronation scene in the film is modeled after Pope Paul VI's own papal tiara.
The ending of the film was changed from the book. Morris West said:
Structurally speaking I've always thought The Shoes of the Fisherman was one of my weaker books. It wanders too much. The script for the film is tighter, more direct and I think it says in a stronger way part of what I wanted to say in the novel. We've come to a point in history where men - black or white, Marxist or capitalist, christian or non christian - are going to have to make a choice. They're either going to have to commit themselves to an act of love for each other or an act of hate for each other. Men on each side have to say: "Look we're all brothers. Why do we kill each other in the streets? Don't lets drop the atomic bomb. Let's talk for one hour more." Today this is the real triumph of good over evil. It's what i've tried to put into the last speech for the film.
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