100 Movies Every Catholic Should See #70: The Scarlet and the Black (1983)

Directed by Jerry London. Starring Gregory Peck, Christopher Plummer, John Gielgud, Barbara Bouchet, Olga Karlatos

It will come as no surprise to the readers of these pages that I am a fan of a good thriller. And one of my favorite thrillers of all time, and one which for my money is terribly underrated, is The Scarlet and the Black. Directed by prolific TV producer Jerry London for CBS in 1983, The Scarlet and the Black dramatizes the true story of Monsignor Hugh O’Flaherty (Gregory Peck), a Vatican official who ran an organization to hide escaped Allied prisoners of war during the Nazi occupation of Rome. It explores themes of faith, the value of human life, and duty under difficult circumstances while at the same time being a smart, tightly-wound thriller that keeps its audience engaged and on the edge of its seat for its whole run time. It is a masterclass in weaving thoroughly Catholic themes and imagery into a truly excellent genre film.

The tension in this film increases masterfully from the initial Nazi occupation, when SS Colonel Herbert Kappler (Christopher Plummer) expects to quickly round up the escaped Allied POWs, through the initial forays of espionage as Kappler becomes more and more frustrated by the wily O’Flaherty, until finally Kappler is paranoid, consumed by his desire to capture or kill this priestly interloper. As more and more prisoners come to Rome and Kappler tightens his grip on the city, O’Flaherty’s tactics become more and more delightfully creative. He starts mostly by raising money and buying safe houses in which to place his charges. He learns early on Kappler’s intentions when he helps the Jews of Rome to raise a large indemnity demanded for their safety, only for Kappler to immediately raid their ghetto and send them off to concentration camps. The danger is real, and the stakes raised higher and higher as O’Flaherty’s friends are captured, tortured, and killed. However, the good Monsignor always manages to stay half a step ahead of the Gestapo, often in humorous disguises.

This excellent building tension is enhanced by wonderful cinematography and a terrific score from Ennio Morricone (The Good, the Bad, and the Ugly; The Mission). The Scarlet and the Black was shot entirely on location in Rome, and it wonderfully showcases the beauty of that most beautiful city. The Vatican, of course, gets plenty of attention, and they must have had the full cooperation of St. John Paul II’s curia to get some of the amazing shots and locations they did. St. Peter’s Square features prominently, often becoming a battleground between O’Flaherty and Kappler. Other great Roman landmarks, such as the Trevi Fountain, Colosseum, and Vittorio Emanuele monument, are also featured, but it is the great number of scenes set in normal Italian streets and piazzas that really deliver the flavor of the Eternal City and set the heart of anyone who has been there longing to return. The score is also Morricone at the top of his game, delivering drums and strings that evoke the very jackboots of the Nazis while an anxiety-inducing brass section blares out the main theme, or showcasing a thundering organ that illuminates Monsignor O’Flaherty’s inner turmoil. However, he also shines in the quieter moments, dwelling on the peace and nobility that the story provides, and even allows traditional Catholic chant and polyphony to speak for itself. The film rarely feels like a made-for-TV production, and its cinematography and music greatly contribute to its powerful story and imagery.

Much of that powerful imagery is, indeed, deliberately Catholic. The very title, The Scarlet and the Black, evokes the striking colors and symbolism used both by the Nazis and the Catholic Church. These are obviously the colors of the Nazi flag, but are also the colors worn by many of the cardinals of the Church and by Monsignor O’Flaherty himself (if his sash is, perhaps, closer to Cardinal scarlet than the more accurate Monsignorial purple, we might forgive the film for its heightened dramatic significance). The film is awash in Catholic imagery and symbolism, and thankfully it does not seem to be simply set dressing. Monsignor O’Flaherty, for example, is often depicted at prayer before a particular painting of the Madonna, and the obvious clerical dress of the pre-Vatican II clergy provides an effective counter-uniform to that of the opposing Gestapo. The color scarlet in the title invites literary comparisons to the Scarlet Pimpernel (part of the title of the original book), and in combination with black it evokes blood and death, the threat of which are ever present for O’Flaherty and his organization. Kappler’s men do not hesitate to torture and execute even priests, and they often gun people down in the very streets of Rome.

The Vatican, meanwhile, is portrayed as an uneasy haven of peace, and Pope Pius XII’s (John Gielgud) white cassock conveys this aspect of peace and neutrality. The Pope, unfortunately, is portrayed as rather weak in the film, worried more about Vatican neutrality than the lives of the people O’Flaherty works to help, but he is never callous or completely unsympathetic, allowing O’Flaherty to continue his work unimpeded. We know from history that Pope Pius XII did indeed work to save as many people as he could, although clandestinely, and was certainly no friend of the Nazis. The film could have dealt with his role better, but it is a very minor flaw in an otherwise terrific film.

At the heart of the film is Monsignor O’Flaherty’s conviction that he must do something to help those who seek sanctuary from the church. He does not create a partisan resistance group or send his men to seek retribution on the Nazis by force of arms. He helps those who need it, with the strength, courage, and conviction of a virtuous man of peace. However, he is often also rash, stubborn, and irascible. Our very introduction to him is a head-on shot of him punching straight at the camera! Seeing such a man struggle with his flaws while remaining unflinchingly on the side of the angels is inspiring and Gregory Peck pulls of the role with the gravitas and wit that only a truly great veteran actor can accomplish. O’Flaherty, while not a saint, is a good man and accomplished a great work for the Church at the risk of his own life.

The Scarlet and the Black is, perhaps, my favorite thriller of all time because of its excellent performances and film-making, its tight and thrilling story, and its use of beautiful Catholic imagery. It is a great example of what Catholic cinema could look like, not overtly preachy or sentimental but an excellent film in its genre that wrestles with Catholic themes and uses powerful Catholic symbolism to create a beautiful film. Although it does not receive as much acclaim as it should, it fits in quite comfortably with the other great thrillers on our list such as The Third Man and I Confess. It is an excellent Catholic thriller and should become a perennial favorite of any Catholic cinephile.