By contributor Patrick Zabriskie
Review: To recognize both the conclusion of Black History Month and the recent Academy Awards Presentation, I thought it would be fitting to review Lilies of the Field, the first film to give the award for Best Actor to an African American, Sidney Poitier.
The opening shot of Lilies of the Field does not do much in the way of grandeur—an old car driving down a desert highway with a simple song in the background. It’s not epic, it’s not grand; it’s comfortable, cozy. In many ways, this shot sets the tone for the rest of the movie.
The film introduces us to Homer Smith (Poitier), a self described “black Baptist” and a drifting handyman, who stumbles across a convent in the Arizona wilderness and is hired by its nuns to do some maintenance work. Homer first works in order to make a quick buck—something the Mother Superior, the other lead in this movie and something of an antagonist to Homer, promises but never gives. Still, she manages to coerce him to stay, work, and even drive the nuns around. A bond begins to grow between Homer and the religious sisters. The center event of the movie though, is when the Mother Superior asks that Homer build for them a chapel near their convent. At first reluctant to do so, Homer soon finds that this chapel is a matter of pride for him, and with faith, humility, and hard work, the logical “happy ending” is reached.
Though depicting Catholic nuns and having a famous Bible quote, the “lilies” passage of Mathew 28, as the movie’s theme, this film manages to not feel overly religious. Catholic, even Christian, elements are kept to a minimum. Jesus, for example, is only mentioned in song. The presence of God, though he himself is commonly mentioned, does not saturate this movie. Yes, it’s about faith, but it’s also about human relationships. The constant struggle between Homer and the Mother Superior is iconic, as each side represents a strong personality that holds out to get what he or she wants, only to find in the end that each must give in order to receive.
As I said in the beginning, this is a film that gets much of its joy out of quality simplicity. Sidney Poitier gives a performance deserving of his Oscar as Homer. It isn’t five minutes into the movie that we, the audience, completely accept him as a convincing and believable character, despite the fact that we know nothing of his past. Still, his performance doesn’t feel overly dramatic. He’s no Ben-Hur, but for this movie he certainly doesn’t have to be. Lilia Skala as the Mother Superior plays an equally convincing role, again never failing to incite believability in her character.
Lastly, though the technical aspects of this movie are not mesmerizing, they flesh out the movie quite well. It was shot on location in the desert, and a real sense of progress is felt as the chapel gets closer and closer to completion (an actual crew labored through the night to achieve this effect). Finally, Jerry Goldsmith’s score, with its folk-grassroots sound and use of a popular Baptist hymn, complements the movie beautifully and is in itself a treasure to simply listen to.
In conclusion, Lilies of the Field is a touching little movie. A sort of diamond in the rough, this film gets two thumbs up from me, and I cite it as an example of how great movies need not be expensive.