Screen
john devore
An Abiding Faith True story “Philomena” is a journey and a testament
I
T’S HARD TO BE SURPRISED BY any of the terrible things done by the Catholic Church. This is an organization that has existed for centuries, across some of the world’s greatest political and cultural upheavals, and given that they have managed to change with times while maintaining even a semblance of their original messages is nothing short miraculous.
18 • The Pulse • February 27-March 5, 2014 • chattanoogapulse.com
Of course, as society changes and loosens its grip on strict dogmatic morality, certain parts of the church will always look archaic and barbaric through the lens of the present. The church will never adapt as quickly as the rest of the world, and as a result people will continue to be hurt by practitioners of the faith, in the name of God and the defense of the Gospels. Whether or not a person should be blamed for genuine belief in dubious charity, despite the appalling consequences that seem evident to a modern outsider, is at the heart of “Philomena,” an Oscarnominated film that deserves all the praise it has received. The breadth of subject matter found in this year’s nominees is a testament to how varied film is as a medium. Anything can be a good film, given the proper attention. “Philomena” is based on the true story of Philomena Lee
(Judi Dench), an elderly woman searching for her son over the course of 50 years. It was the subject of a book by Martin Sixsmith, a journalist played in the film by Steve Coogan. Fifty years prior to the film’s opening, Philomena was dropped off at Sean Ross Abbey in Roscrea, Ireland by her father because she had become pregnant out of wedlock. This was common practice at the time—“wayward girls” were given to the nuns by parents too embarrassed to manage them. The girls were forced to deliver their children without the care of a physician or pain medication, resulting in the deaths of many of the babies and mothers, some at ages as young as 14. This pain and threat of death was considered
penance for sexual immorality, a sin that was meant to follow them forever. In return for their care, the girls worked at the abbey to pay off their debts while their children were put up for adoption (or sale, depending on your perspective). Most of these adoptions were made by Americans. The mothers had no say in who their children left with and were given no information on their whereabouts later on. The majority of the film focuses on Philomena’s search with Martin for her lost son. We spend ample time with the two, an odd couple if there ever was one, adding muchneeded levity to a film that