By Alex Distefano
By Scott Snowden
By Anna Merlan
By Steve Almond
By Jena Ardell
By Jon Campbell
By Alan Scherstuhl
By Tessa Stuart
Peter Mullan and Carlos Carrera might be on the Catholic Church's blacklist now, but when it comes to impious directors, the pontiff's crew isnt one to hold grudges. Witness "Some Important Films," an unexpectedly heterodox roster of 45 features compiled to mark the centenary of cinema. Alongside givens like It's a Wonderful Life and biopics of the saints, a handful of the choices seem to double as offers of expiation to the church's most notorious celluloid sinners. Herewith, a few filmmakers who straddled the sacred and the profane.
Ingrid "Joan of Arc" Bergmans corruptor scores a hat trick on the papal list, including a mention for The Miracle (1949)which is somewhat miraculous in itself, since the Vatican's censorship wing declared his parable of the virgin birth "an abominable profanation from religious and moral viewpoints." After Catholic protests, the New York Board of Regents withdrew the film from exhibition, a move later overturned by the Supreme Court in a landmark 9-0 decision.
The L'Age d'Or provocateur makes the cut for Nazarín (1958), which chronicles a Christlike priests mounting despair as he suffers at the hands of those he tries to help. Buñuel was irritated to find he'd accidentally pleased the church he despised, later writing, "I was actually invited to New York, where the abominable Spellman's successor, Cardinal Somebody-or-Other, wanted to give me an award for the film." Buñuel later incorporated a daydream sequence into The Milky Way (1968) in which the pope faces a firing squad.
Pier Paolo Pasolini
Just two years after landing in prison as a blasphemer, Pasolini won the grand prize of the International Catholic Film Officeand later a spot on the Top 45for his reticent, Marxist-tinged Gospel According to Saint Matthew (1964), in which he cast his own mother as the Virgin Mary. The exoneration was short-lived: His Canterbury Tales(1971) and Salò (1975) were both deemed obscene by Italian courts.
It's a sin: Jarman's absence from the centenary lineup is regrettable, since his wicked delectation in lurid Catholic imagery rivals Buñuels in intensityfrom the beefcake martyrdoms of Sebastiane (1976) to the iconic tableaux of Caravaggio (1986). And besides, the guy's a saintcanonized in London in 1991 by the Sisters of Perpetual Indulgence as Derek of Dungeness of the Order of Celluloid Knights.