"In her motherly concern, the Blessed Virgin came to Fatima to ask men and women to stop offending God, our Lord, who is already very offended. It is a mother's sorrow that compels her to speak" (John Paul II, 2000).
Whilst looking forward to an accurate, faithful and convincing screen adaptation about the 1917 extraordinary events at Fatima (Portugal), I encountered a view that what we need is not a movie that attempts at visually pleasant production with top notch performances but something that absorbs us profoundly, almost mystically, and presents an ever-open, still actual message of Fatima. Something up-to-date in its method of communication that may inspire modern generation. Meanwhile, we have encountered many screen adaptations. Most of them, however, either focused on the cinematic combination of history and fiction or simply resorted to sheer linear monotony. The crucial thing, however, is to understand the significance of these apparitions as a "prophetic mission" (Benedict XVI's words). Luckily, a few years before the centenary of these events, we are indeed fortunate to see Dominic and Ian Higgins' THE 13TH DAY which truly appears to meet that expectation. A movie like barely any other screen production, is a profound achievement fanned by the 'flame of faith' where the thought provoking question Benedict XVI asked in Fatima becomes as touching as ever: "Who awaits the dawn of the new day fanning the flame of faith?"
If you await top notch performances or any feast for the eyes, you had better not be misled. Yes, pleasant cinema is something precious, undoubtedly, but there is no room for that here. That is not where the movie's strength lies. It dwells in all that God loves most, in humility of the ignored and mocked by those who "sacrifice all that was most sacred on the altar of petty and selfish interests (Benedict XVI). The heroes are "merest" children: Lucia, Jacinta and Francisco, not the learned, the brave, the clever ones. They represent the innocence of the world that has ceased to exist in so many of its fields, its contexts, its desires and motifs. They remind the world of God with their "faith-filled surrender into the hands of the Love which sustains the world" (Benedict XVI). But are they the highlights of the story? From the very start, any viewer, if believer or non-believer, will strive to figure out who the movie is about and who it is addressed at...
The film opens at Pontevedra in Spain in 1937, twenty years after the Marian Apparitions. Sister Lucia, the only surviving seer, writes down her memories according to the request of her superiors, the memoirs that are stored in her heart. With the vivid, yet mystical, foggy flashbacks, she becomes the sole narrator of the story. In this way, the whole depiction of the difficult content remains more analytical and more innate (if I dare say intimate spiritually). A great flashback!
In that depiction, a key aspect is cinematography. It appears to be an altogether splendid idea to shoot the movie mainly in black and white and use the color at the scenes of the supernatural! In this, the cinematography evokes the wondrous assumption here that could, otherwise, result in idealized awkwardness elsewhere. That is the fullness of joy, of beauty is solely in God. Where there is God and life of faith, all colors with sublime harmony shine brightly. This spiritual overtone executed in visuals becomes most evident at the climactic scene of the miracle of the sun. Consequently, the concrete medium that cinema is appears to grasp the mystical and spiritual, embrace the religious and prophetic standpoint in an austere manner. The supernatural, in many cases, resorts to mere naiveness, cartoon like kitsch, ridiculous illusions. Here, however, it is very authentic and genuinely shakes the perceptions of viewers. Many archive materials add certain sense of authenticity and documentary nature. They are, in a way, incorporated to the scenes and nicely evoke the atmosphere of the time.
Yet, nothing is 'apocalyptic' in the earthly sense of the word filled with fear and doom but in the 'Christian' sense of the word filled with hope. No prophets of doom! Do not expect them here and thanks be to God for that because that is nothing of what Fatima is all about. These events are not filled with darkness but, to the contrary, they are full of light. Yes, Light...let me make a brief note about one of the most significant aspects.
Bl. John Paul II in his homily during beatification of Jacinta and Francisco (2000) pointed out: "they (children) see a light shining from her maternal hands which penetrates them inwardly." In one scene, we see the light that frames the entire screen and embraces the viewers. At that very moment, you feel to be the part of the movie.
Among the artistic strengths of the movie, a mention needs to be made of the memorable music score by Andrew Guthrie which does not rely so heavily on Fado but combines various elements of vibrant and contemplative tunes.
But let me state one thing clearly: there are no protagonists of the movie, it is a film about God's relation with humanity taking a historical example of humble children of Fatima. Very thought provoking, highly recommended!
On May 9th 1985 before the assembly of the Republic of Portugal in Lisbon, Ronald Reagan said: "in the prayers of simple people everywhere, simple people like the children of Fatima, there resides more power than in all the great armies and statesmen of the world." Merest children...how wondrous is the 'tactics of God' Certain that "each one of us is precious in 'Her' eyes" (Pope Francis), this medium contributes to 'the dawn of the new day' of the triumph of the Immaculate Heart.
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