Originally posted on 11/20/19
Like its Paramount predecessor, "Going My Way", the RKO sequel THE BELLS OF ST. MARY'S (Olive Signature, 1945) was, to that point, the highest-grossing film for its studio. It's easy to see why it was and continues to be so popular, especially for war-weary audiences looking for something uplifting and inspirational.
Both films starred Bing Crosby as unconventional singing priest Father O'Malley, in this case having just been transferred to St. Mary's, an urban Catholic school presided over by nuns.
Their leader, Sister Benedict (Ingrid Bergman), will establish a fond though often adversarial relationship with the easygoing but opinionated priest, especially in regard to the teaching of their young students. In time, both their adverse methods as well as their personalities will begin to compliment each other.
Other subplots involve miserly old millionaire Mr. Bogardus (Henry Travers, IT'S A WONDERFUL LIFE) erecting a shiny new building next door and hoping to acquire the school itself to tear down for a parking lot. Sister Benedict, meanwhile, prays constantly for the mean old coot to have a change of heart and donate the building as the new St. Mary's.
Meanwhile, a woman named Mary Gallagher (Martha Sleeper) implores Father O'Malley to take in her daughter Patsy (Joan Carroll) and give her the kind of secure, decent upbringing she alone can't manage. Fatherless and withdrawn, Patsy's mental and emotional welfare becomes a major concern for the priest and nun, who will differ greatly on how to deal with the troubled girl.
It's interesting how the Production Code-era writers clue us in on what's what when Patsy's mother hesitantly tells Father O'Malley she has "done everything she can" to support her daughter.
Also of note is O'Malley's warm, non-judgmental response, especially considering that Patsy was clearly born out of wedlock although the dialogue doesn't quite spell it out. This single element alone elevates our opinion of the priest and of the film's benign intent.
While each subplot is vital, they sort of swirl around each other during the film rather than jostle for attention. There's a good deal of gentle humor to lighten things up along the way, beginning with the very first scene of Father O'Malley moving into his new boarding house as the housekeeper, played by the delightful Una O'Connor (BRIDE OF FRANKENSTEIN, THE INVISIBLE MAN) warns him ominously that the school's previous resident priest had to be carried away in a wheelchair in frightful condition.
Another wonderful scene occurs when the smallest children put on a nativity play. Here, director and co-writer Leo McCarey told the boy playing Joseph the general story of the play and then had him improvise the entire thing, telling the other castmembers what to do. McCarey then secretly filmed this and the result is a charming sequence which ends with the children gathered around a toddler playing Baby Jesus and singing "Happy Birthday To You."
At one point O'Malley and Benedict clash yet again over how to deal with a boy being bullied on the playground. O'Malley praises the victor for having what it takes to make it in a "man's world", while the sister takes it upon herself to teach the other boy, Dickie (Eddie Breen), how to defend himself after reading a book on the art of pugilism.
In what I consider to be the film's most amazing sequence, Bergman improvises a lively boxing lesson composed of several long, largely unedited takes. Keeping up a steady stream of banter about defense, footwork, bobbing and weaving, various jabs, and other tips, she conjures a magical moment for her character with a charm and spontaneity that I found utterly disarming.
With her classic beauty downplayed, Bergman has the chance to create this memorable character mainly through dialogue and presence. Der Bingle, of course, is his usual honey-smooth self, getting to croon a song or two along the way. Though never getting particularly worked up over anything, his Father O'Malley exudes a gentle caring and empathy even when we may not agree completely with his methods.
The entire film has a noticeably reserved, restrained tone--even the humor often seems rather solemn. We pretty much know right off the bat how each situation is going to work itself out, so we just settle in comfortably and watch it happen.
I found myself settling in quite a lot during the sweetly sedate THE BELLS OF ST. MARY'S. A bit corny and maudlin at times, it's genuinely heartfelt at its core and even evokes a few well-earned tears. McCarey's vision of a spiritually uplifting family entertainment is exquisitely rendered and, in this day and age, warmly nostalgic.
YEAR: 1945
GENRE: DRAMA
LANGUAGE: ENGLISH (with optional English subtitles)
LABEL: OLIVE FILMS
TOTAL RUNNING TIME: 126 min
RATING: N/A
VIDEO: 1.37:1 Aspect Ratio; B&W
AUDIO: MONO
BONUS FEATURES:
Mastered from new 4K restoration
Audio commentary by Bing Crosby biographer Gary Giddins
“Faith and Film” – Sr. Rose Pacatte on The Bells of St. Mary’s
“Human Nature” – Steve Massa on The Bells of St. Mary’s and Leo McCarey
“Before Sequel-itis” – Prof. Emily Carman on the film in the context of Hollywood production history
Screen Guild Theater radio adaptations
Essay by cultural critic Abbey Bender
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