A film to see, Cabrini, the life and ministry of St Frances Xavier Cabrini.
Cabrini – Frances Xavier Cabrini, born in Lombardy in 1850, on mission to New York, 1889, 28 years of enterprising activity, died 1917, beatified 1938, canonised 1946, the first American citizen to be canonised.
Frances Xavier Cabrini established a religious congregation, the Missionary Sisters of the Sacred Heart, whose motto is taken from St Paul: “I can do all things in him who strengthens me.”. 40 minutes into this portrait of Mother Cabrini, we hear her say these words. And, by this stage of the film, we know that this is true. But, there are almost 2 more hours or – an extraordinary extension of “all things”.
The tone is set in the prologue, a young boy, Paolo, close-up on his face, dragging a wheelbarrow, his mother dying of typhus, the New York streets, his calling out for help, in Italian, everybody ignoring him, a policeman accosting him, giving an address where the sick woman could be taken, but she dies. Paolo will later appear in this story.
Then the transition to Italy, a young woman in a religious habit, close-up of her face, the camera dwelling for a long time on her face, inviting us to respond. Throughout the film, the camera will focus on Mother Cabrini’s face, mostly intense, often sad, rarely smiling, but absolutely determined in her goals, and in her confidence on God’s Providence. And she often states that if you begin the mission, the means will come.
The shrine in Washington Heights New York where Mother Cabrini is buried
Frances Cabrini had a dream of establishing orphanages in China, a compassion for needs in Asia. She has been refused by Vatican officials, eventually visiting Rome, demanding a meeting with Pope Leo XIII, (Giancarlo Giannini) his acceeding to her wish, cup of tea together, his being impressed by her zeal, and the suggestion of a mission in New York. She and her sisters travel, steerage, her looking out on the Atlantic, her fear of water, flashbacks to her almost drowning, being rescued, recovery, but permanent damage to her lungs. Which means that she sees any time not devoted to her mission as, simply, loss.
Mother Cabrini is played by Italian actress, Cristiana Dell’Anna, always intense, an intense interiority, no histrionics. This is a determined woman of faith, the language of faith (though no scenes of prayer and community – and one might have expected some emphasis on her Sacred Heart devotion, though some glimpses of statues and paintings.)
The artwork on her ministry on the Shrine apse.
Filmgoers who remember Martin Scorsese’s Gangs of New York, will resonate at the reconstruction of Five Points, built on sewers, squalor, many Italian migrants, not yet speaking English, and despised by so many of the locals, called dagos, guinea pigs, seen as less than human, insulted in the streets, denounced by the local authorities, wooden shacks, but youngsters taking refuge in the underground tunnels and channels, put to menial jobs, often in physical danger. Mother Cabrini goes instantly into action, rescuing children, encountering a young prostitute and clashes with her vicious pimp, continually finding accommodation, looking for buildings, looking for support.
There are many scenes of her confrontations with the Archbishop of New York, Archbishop Corrigan (David Morse), Irish background, reluctant to help Mother Cabrini, urging her to return to Italy, but her continually confronting him. Then there are the local powers, the mayor, John Lithgow portraying him as supremely arrogant, politicians and police under his control, the local police who despise the Italians, ride roughshod over a crowd gathered at an Italian festival in a park.
Mother Cabrini is of strong Italian stock, strong Italian attitudes (and grew up in strong anti-clerical times), ready to confront anyone, Archbishop, Mayor… When she enlists the help of an opera singer, moved by Pagliacci, he refuses because of his antagonism towards the church. When she organises a children’s choir to serenade him at his mansion, he relents, joining in the fundraising. Despite opposition and setbacks, her forte was in persuading people to support her. And her mission forte was the continued outreach, confident in her outreach.
In the 19th century, while women did not have a place in church governance, there were many strong women who ran hospitals, schools, exercising this kind of church leadership. This is to the fore in this screenplay, Mother Cabrini and being a pioneer in feminism, the film’s dialogue uses convincing feminist language to highlight the power of women: the Mayor suggesting she should have been a man, Mother Cabrini replying that men cannot do what women can do.
The screenplay indicates what was to come, orphanages, but, especially after a deadly subway explosion, the need for hospital, the beginning of Cabrini hospitals in many parts of the world. Despite political sanctioned arson, she keeps going. Final close-up of her, intense, determined, her interior confidence in divine Providence, and the information given about what she referred to as her “Empire of Hope”, 67 institutions, her congregation and its outreach throughout the world.
A cinema biography in the long traditional style of such stories, moving, challenging audience compassion.
