100 Movies Every Catholic Should See #54: The Jeweller's Shop (1988)

Directed by Michael Anderson. Adapted from the play by Karol Wojtyla by Jeff Andrus

Outside of The Passion of the Christ, The Jeweller's Shop, or La Bottega dell’Orifice, as it was originally titled, is arguably the most poignant and beautiful example of the complexity of love I have ever seen. Admittedly, as a true purist would say, I feel that the book (or script, technically) is better than the movie. However, a ringing endorsement from the author of the book, who just so happened to also be the Pope (now a beloved Saint!) is not too shabby for script writer Jeff Andrus and director Michael Anderson. 

For those unfamiliar with The Jeweller's Shop, which was filmed in 1988, the characters and their experiences in the story serve as a background for a meditation on the Sacrament of matrimony. I have heard it said that the play The Jeweler's Shop is the artistic version of John Paul II's Theological/Philosophical work Love and Responsibility, which makes sense, given the profound nature of his observations and meditations on love in both works. I am consistently in awe of Karol Wojtyla/Pope John Paul II's understanding of the human psyche. His understanding of humans and human emotion is particularly evident throughout the story. 

Then Karol Wojtyla wrote the original script as part of the movement of Rhapsodic Theater in Poland when he was Archbishop of Krakow. He uses three couples to teach the audience about love: Theresa and Andrew, Anna and Stefan, and finally Christopher and Monica (who are, respectively, the children of the first two couples). He also uses two other characters, Adam and the Jeweler, to guide the couples through their challenges. The play (much like many other shows written during the Communist occupation of Poland) is staged such that there is minimal action, set, or props, which serves to emphasize the spoken words of the actors. One might wonder then how this would translate (literally and figuratively, as the original script was written in Polish) to a film. 

In the original there are three acts, each one highlighting the experiences of a different couple. In the play, most of the story is presented through a verbalized inner monologue, recalling the events as having already occurred. Many readers find that format difficult to engage with, but Andrus and Anderson work to make the story and ideas more accessible by showing them to viewers in real time, as they happen. This helps to engage the audience and to feel that they are experiencing the events alongside them. Andrus and Anderson do an excellent job of quickly drawing us into the story of Theresa and Andrew, while simultaneously introducing us to Anna and Stefan. 

As much as there are some artistic liberties taken, it is evident that they are taken in a way that respects the integrity of the original, and serve to further the story. While the play very much drops us "in media res", the film provides more backstory to all of the characters, which helps us to engage more deeply with them and their struggles. While in the play we don't ever see Anna and Stefan meet (we come across them already married with children), the movie introduces their characters almost immediately, and we see their first interactions. Their story is gently woven into the early stages of Theresa and Andrew's relationship, serving as something of a foil for them. Amidst the activity at the start of the film, we meet the Jeweller, who is something of a wise, omniscient character, very much representative of God the Father. We also are introduced to Father Adam, who in the play is simply "Adam." 

In the opening scene, we see a group of young adults embarking on a hike into the mountains, led by Father Adam. These scenes were filmed in the utterly gorgeous Tatra Mountains in southern Poland. I don’t know if this was intended by the filmmakers, but I can’t help but envision a young Karol Wojtyla in the character of Father Adam, as he leads the group on their outdoor adventure, as Wojtyla often used to do. 

Further sweeping shots of Poland’s beauty are often accompanied by the lovely theme that is woven throughout the film– the soundtrack, written by Michel Legrand does an excellent job capturing lightheartedness of a moment, while also maintaining a seriousness in those moments that require it. I particularly like how the first wedding scene is set to the chant, Veni Creator, Spiritus. It is accurate, appropriate, and profound, all at the same time. An interesting addition tied into the story of the film, is that Theresa is an accomplished pianist, and in the final scene plays a piece with an orchestra that develops into the theme of the movie. I like to think the incorporation of these elements was a nod to John Paul II’s love of the arts– even Monica is a talented ballet dancer. We see moments of both Andrew and Christopher appreciating the beauty of the arts as the women each showcase their skill. 

If the beauty of the script, filmography, and soundtrack isn’t enough to convince you to watch it, then perhaps the excellence of the acting will. It is always a good sign when you can’t decide which character is performed the best. The Jeweler is played with reverence and gravitas by Oscar-winning Burt Lancaster. Father Adam is played by Polish actor Daniel Olbrychski, who even in 1988 had an extensive and impressive repertoire. Theresa is played by the stunning Olivia Hussey; while she may not recite the inner monologues of Theresa found in the play, Hussey does an excellent job of expressing those thoughts on her face. Andrew is played by Andrea Occhipinti, who manages thoughtful and pensive expressions with subtlety. The tension of Stefan and Anna’s relationship is extremely convincing, performed by veteran actor Ben Cross (Chariots of Fire), and Jo Champa. The youthful vigor, energy, and vulnerability of Christopher is effortlessly played by Jonathan Crombie (who many will fondly remember as Gilbert Blythe from Anne of Green Gables). A young Melora Hardin (Jan, The Office) plays Monica with very genuine reserve and brokenness. 

I do have two critiques of the movie, as a lover of the original work. Firstly, I think that the story of Anna and Stefan’s struggles is more compelling in the play, because we have every reason to believe that their relationship started out in a wholesome, healthy way. In the movie, it seems that we are led to assume that Stefan is, at least a little, a bit of a womanizer, driven on impulse, tending towards immaturity and irresponsibility, not thinking things through. As much as it does provide an interesting foil to Andrew and Theresa, I think that having their relationship begin in such a way inclines the viewer to be predisposed to assume that they will have relationship struggles. Yet in reality, couples who have started relationships in a strong, healthy way can have struggles as well. Further, in the final scene of the play, it is somewhat more open ended, while in the movie, Anna and Stefan seem to have a much more immediate optimistic outlook. 

The second critique I have is that the movie does not contain what I believe is the most beautiful, meaningful quote of the play. When Anna encounters Stefan on the street in Act II, they have a conversation about the Bridegroom and the Parable of the Ten Virgins. In the play, Adam tells Anna that she is the bride, and that the love she seeks is found in the Bridegroom. I won’t deprive you of the chance to read the quote for yourself in context, because it is such a moving piece of the book, but I do wish that they had incorporated that line into the movie somehow. 

That said, as much as I do prefer the book, the movie does an incredible job of pulling from the source material and weaving pieces together in a beautiful and accessible way, from the deep quotes of the Jeweller and the wisdom of Father Adam, to the discreet glances of Theresa in the mountains, and Andrew’s loving gazes at Theresa. One particularly beautiful shot occurs when Theresa and Andrew are about to go into the Jeweler’s Shop for the first time: they stand outside of the shop, their reflections mirrored in the window, while the Jeweler is visible inside, mirroring the necessity of God’s presence in one’s relationship. The film does a good job of putting very philosophical language into visual images and dialogue that is understandable, yet faithful to the original. I think it is also profound how they work the conflict of World War II into a story about love and hope– one can see this when (in a new scene) Andrew and Stefan are discussing weekend drills they are required to do as soldiers, and Andrew tells a disinterested and unenthused Stefan, “I don’t mind it so much… If our country is worth living in, it’s worth fighting for.” The scriptwriter draws a deep connection here between willingness to fight for one’s country and to fight for one’s marriage. The final shot in the wedding scene of Theresa and Andrew is of Christ on the cross– the ultimate example of what marriage ought to be. A willingness to give everything for the other in acceptance of God’s will and the crosses in our lives. Stefan’s unwillingness to sacrifice is evident in both his attitude toward his country, and his later attitude toward his marriage. 

I have a deep love of The Jeweller's Shop, and I think it is particularly profound for today’s culture because in each of the couples, we see reflections of the constant "challenges thrown to us" (to use a line from the original) in love, and how they can be overcome: the initial hesitancy and fear in Theresa and Andrew; the hurt and distrust in Anna and Stefan; the brokenness and consequences from their own experiences of their parent's love found in Christopher and Monica. Beyond that though, we are reminded, through Anna's grief and encounter with Adam, that we all ache for a love beyond all other loves. To be seen, and loved, and known intimately by Love, by the Bridegroom... though He may not always be where we want or expect to find him. Yet He is always there, we simply must keep our lamps burning for Him.