The DVD transfer is beautiful, offering clear and crisp video and sound. The film features a superb performance by Linus Roache, and some very artful editing (with the exception of a couple of spots in which it's obvious that scenes have been snipped by the censors' scissors). I would have liked a few extras on the DVD, like an interview with the director and/or screenwriter, and perhaps some balanced coverage of the controversy the film has generated since its release. A theatrical trailer would also have been welcome. (How was this volatile film marketed, both in the USA and abroad?)

These missing features aside, this movie (to date) is not frequently screened on US cable or broadcast television, and I welcomed the opportunity to see it, and to be moved by it.


An effective, thought-inducing film experience!   August 7, 2001
 27 out of 31 found this review helpful

A take-it-or-leave-it drama, "Priest" is not your everyday religious examination film. It deals more with issues considered taboo by the church, such as homosexuality, incest, and the judgmental society. Some people may even lose interest from it; this is not a movie for everyone. But, it does leave a lasting impression in the mind, raising up questions and debates about religion that even the film itself does not resolve.

The film begins with a man carrying a cross from the church to the home of the Bishop, who has replaced him with a newcomer to Liverpool. Greg Pilkington (Linus Roache), a conservative man of the cloth, arrives and is appalled that fellow priest Matthew Thomas (Tom Wilkinson), relinquishes celibacy and has a relationship with their black housekeeper. This puts a small strain on their growing friendship, but it gives way once bigger conflicts begins appearing.

Just as Father Matthew avoids celibacy, Greg breaks the vow by going to a pub and picking up (surprise) a man, going back to his place, and having a one-night stand. Once his homosexuality is revealed to us, the movie takes on a much bigger challenge of mixing religious persecution and moral beliefs, as Greg must choose between keeping his vows of faith or revealing his secrets.

Greg's homosexuality is handled in many different ways, and seen in many different views and opinions, including his own of himself. Once it becomes known that their priest is gay, the members of the congregation begins to dissipate, and even the Bishop asks him to leave, even as Father Matthew pleads with them to be compassionate. This prejudice and hate makes way for some very nice introspective into the hypocrisy that permeates the church and its followers ("Let he who is without sin cast the first stone").

It is Greg's own inner torment that heightens the movie to an emotional level. He establishes the fact early on that he considers his own lifestyle to be sinful, yet he cannot stop thinking about being with a man. He begins to rationalize with a crucifix in his room over what is right and wrong; his inner conflicts with himself are powerful and moving, and just as he asks God for an answer, we find ourselves asking the same question.

His inner torment extends to other situations as well. In a very intriguing side story, a young girl named Lisa reveals that her father sexually abuses her, putting Greg on the spot of whether to break the vow of confession or keep these truths hidden. The situation gets very tense as Greg begins tearing himself apart inside. Not only is he fighting his own personal war, but someone else's, someone with whom he will find comfort at the film's heart-stopping finale.

The only flaw that blemishes this film's beauty is the way in which it showcases Father Matthew as a gay rights activist during the movie's third act. He invites Greg to stand with him for a service, which causes an uproar among the parishioners. He then proceeds to invite people to leave the church. His words here seem more like demands than pleas, sounding just a bit, well, preachy.

It is the flawless performances of the cast that really bring home the emotion throughout this film. Linus Roache gives one of the best performances of 1995 as Father Greg, torn between himself and his vows to the church. He brings true emotion to the role, so much so that we believe in his character and his fears. Tom Wilkinson is convincing as Father Matthew, whose open-minded thinking serves as a beacon of light for Greg. Wilkinson is blunt and forceful, a brilliant mix.

"Priest" is a highly controversial film about religion and sin, about taking a stand for ones beliefs or backing down in fear, and ultimately about facing that fear. We can believe in Greg's pain because we have all experienced a situation like his. And whether or not you may agree with the movie's message, or however bad you may consider it to be, a movie that makes you think about so many issues for days after you see it cannot be bad.


It's More Relevant Now Than Ever.   August 15, 2002
 20 out of 22 found this review helpful

If you're a Bostonian like me, chances are you must be sick to death of the nonstop media coverage of the priest abuse scandals. But with all that's going on in the Catholic church, a movie like "Priest" is even more vital now than ever. In one of the most underrated performances ever, Linus Roache is Father Greg, who, upon being newly assigned to a British parish, gets caught in a web of drama involving child abuse, sexuality, the sacrament of Confession, and the priestly vow of celibacy. Without revealing spoilers, "Priest" confronts some pretty throny issues lesser films would dodge. It also has great performances from Academy Award nominee Tom Wilkinson ("In the Bedroom") and Robert Carlyle, who shows not a trace of the frightening intensity he brought to his role in "Trainspotting." The film borders on sentiment during a scene when they play "You'll Never Walk Alone," but otherwise, it's a pretty solid affair. While Miramax spends millions of dollars hyping to death more mainstream films like "Chocolat" and "Cider House Rules," "Priest" gets the shaft on DVD. There are virtually no features on this package. Even so, this film is worth a look, for it is one of the very best movies of the 1990s.


Right On The Money   February 11, 2000
 13 out of 18 found this review helpful

As a Catholic involved with ministry at the parish level for 15 years now, I can honestly say that this excellent little film captures the debilitating, guilt-laden, shame-based, destructive consequences of the Roman institution and its priests. Though not all priests break their vows, believe me...many do-- both heterosexually and, especially, homosexually.Linus Roache portrays one such man caught in the crossfire between his very real sex drive and his very real desire to serve God. Director Antonia Bird does a good job of revealing Rome's celibacy law as the outdated, damaging, psychologically sick imposition that it is. At the same time, she does not glorify her priest's decision to break his vows, and reveals that his illicit act has consequences.Robert Carlyle is great as the little boyfriend...a real change from his later Trainspotting and Full Monty roles. The film's subplot about family incest is another opportunity for Bird to highlight the Catholic Church's long and well-documented history of denial, cover-up, and silence in the face of a male-oriented need to oppress.In every parish in which I have been involved in ministry, I have witnessed plenty of priests whose policy is to keep silent about anything that could be damaging to the Church or to one of its prominent members.This seems to be a disease among Roman priests...silence; the film captures that atmosphere of self-serving denial. It would be useless for most Catholics to watch this film...they would fail to understand its significance; let's face it,those who wander blindly among the pews, rosaries in hand, would react with hatred and chagrin. However, the film is heartbreakingly accurate and should be seen by anyone with active intelligence. Only with the help of films like this can people begin to throw out the evil, diseased structures that have been gripping the Catholic faith for centuries. Lastly, if Antonia Bird directed this film based upon her own personal experience of Catholicism, then BRAVO! Personal experiences happen to be REAL.


Why censor it?   October 7, 2005
 10 out of 12 found this review helpful

I saw this film when it was first released and was quite impressed with its emotional strength and deep sincerity. Having bought it now in DVD format, I was shocked to see that the beautiful, sexy and lyrical love scene between Linus Roache and Robert Carlyle was drastically cut by some censor. Was this done with Antonia Bird's approval? I was amazed and outraged, as that scene, as originally played, could easily be included among the best love scenes of all time.