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Caught in a violent thunderstorm, Martin Luther (Joseph Fiennes) experiences
"conversion". In extreme fear, he calls upon St. Anne to save him as he promises to become a monk.
He enters the Augustinian monastery and tries to live the monastic life rigorously yet he is always beset with doubts regarding his worthiness. His superior Johann von Staupitz (Bruno Ganz) takes a fatherly interest in him and sends him to the monastery in Wittenberg where he becomes a professor of theology. Later sent on a mission to Rome, he is appalled at the sale of indulgences and the worldliness of the clergy there. Pope Leo X (Uwe Ochsenknecht) at this time borrows money to finance construction projects and to pay for the loan sends a monk Johann Tetzel (Alfred Molina) to sell indulgences all over Christendom, including Germany. Back in Wittenberg and disgusted, Luther posts on the door of the Church his 95 theses which synthesize his objections to some doctrines and practices of the Church. A Papal envoy arrives to ask the German Emperor Charles V (Torben Liebrecht) to deliver Luther to the Inquisition in Rome but the Emperor decides to give a fair hearing to his German subject. At the Diet of Worms convened in 1521 Luther does not recant his views. Considered a heretic, Luther is excommunicated and his works burned. But his ideas have a caught fire among the people. The Princes also support him. For political expediency, the Emperor allows the Reformation to take its course. Catholics are divided between Rome and Germany. The Lutheranism movement is born.
The story of Martin Luther and his role in the Reformation is familiar to any student of World
History.
So it is a credit to the filmmakers especially Director Eric Till that this religious, historical drama successfully engages the attention of the viewer in spite of the jaded familiarity of the subject matter. No surprises nor unexpected twists sustain the viewer's interest but some of the elements of the film's artistic craftsmanship do. The production design as well as the costuming is impressive; the script is literate; the narrative clear and dramatically compelling; the casting appropriate and the acting of most of the characters, including the clergy credible, Very good especially is the inimitable Peter Ustinov as the crafty but genial Prince Frederick the Wise; also Alfred Molina as the high-powered monk-salesman Tetzer who can sell indulgences like they were passports to heaven. Joseph Fiennes portrays a tormented Martin Luther as beset with self-doubts and lacking in self confidence, and one wonders if the historical Luther was really so uncharismatic, or so lacking in fire and zeal. There are some vivid cinematic moments like the deadly storm at the beginning which foreshadows the political and religious tempests that will grip Europe. The singular and furious determination with which Leo X pursues his quarry during the boar hunt seems to suggest the same mindset as regards his attitude towards Luther. Through the use of symbolism, the film shows the weakness and human limitation of the Papacy in the fifteenth century.
The film Luther may touch a raw nerve among some Catholics because of the harsh
depiction of the Church. Or the subject matter for adults may scandalize the youth. But the truth, though unpalatable at times, is the truth. During the Renaissance (15th and 16th centuries), which was Luther's time, many of the clergy were far from exemplary, to say it mildly. But in fairness to the church, not only Luther saw the need for reform but many holy men within the church as well. So when Luther launched his crusade for reform, the Church had already started its own soul-searching which eventually renewed the Church spiritually, but it was overtaken by events. The film is about Luther and the filmmakers have presented him in the best light. On the other hand, almost all the other men of the cloth are presented as disgusting (except for Luther's mentor played by Bruno Ganz) without any saving grace. The film is flawed in another way. It misinterprets some of the church's doctrines. For example, the film confuses indulgences with absolution from sin, from guilt. That indulgences offer only remission of temporal punishments due to sin already repented or forgiven, is not mentioned in the film. Indulgences are a boon to believers. It is its selling that is objectionable.
Luther may be an inspiring film for some, but it can be misleading for others because it may perpetuate misunderstanding of some doctrines of the Church.
(Date Reviewed: 21 October 2005)
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