The Chevalier Family First Friday theme - Use of Social Media Awareness

Some Significant July Days for the Chevalier Family, 2022

July seems to have been a mission establishing month: MSC in Yule Island, PNG; MSC in Bangalore, India; MSC in Canada; MSC Sisters in Peru.

It is also a month of memories of murdered MSCs, in Indonesia during World War II, of Peter To Rot in New Britain and in Central America of Faustino Villneuva.

1 July, 1885
Father Verjus, Brothers Salvator Gasbarra and Nicolaus Marconi arrive in Yule Island. The mission in Papua begins!!



2 July, 1985
Opening of the first MSC House in India. the original house was rented from the Holy Cross Fathers, in Bangalore.



4 July, 1885
Father Verjus celebrates the first Eucharist on Yule Island and 48 years later in 1933 Monsignor de Boismenu consecrates a chapel built on the site of the first Eucharist.



5 July, 1941
Unveiling of the statue of Our Lady of the Sacred Heart, Miribel, France. The statue is 33 meters high!



7 July, 1945
The death of Peter To Rot, Martyr and Catechist in PNG. He was beatified, 17 December, 1995.



10 July, 1980
Father Faustino Villanueva, MSC, from the Spanish MSC Province, is assassinated in Joyabaj, Guatemala.



11 July, 1946
The body of Marie Louise Hartzer is transferred from Thuin, Belgium to the Mother House of the Daughters of Our Lady of the Sacred Heart in Issoudun.



14 July, 1859
Father Jules Chevalier visits the Curé d'Ars, Jean-Marie Vianney. The Curé confirms Chevalier in his mission as founder! Two days after their visit, Father Chevalier and Piperon start a novena with the Curé d'Ars, who died shortly after on 4 August, 1859.



17 July, 1874
The church in Issoudun is erected as a Minor Basilica: the Basilica of Our Lady of the Sacred Heart.



19 July, 1876
Father Chevalier buries his mother in Richelieu.


19 July, 1947
The first missionary group of MSC Sisters leave Germany to begin a mission in Peru.



20 July, 1926
Monsignor Couppé, MSC, founder of the Daughters of Mary Immaculate, a local congregation in Papua New Guinea, dies at Douglas Park in Australia.



21 July, 1896
Father H. Linckens, MSC, is appointed Provincial of the newly-erected German MSC Province.

2022 sees the centenary of Fr Linckens' death.


21 July, 1982
Father Eugene Cuskelly, MSC, former Superior General, is ordained auxiliary bishop of Brisbane, in Australia.



24 July, 1828
Jean Charles Piperon, one of Father Chevalier's faithful founding companions, was born about 50 kilometres from Issoudun, at Vierzon, France.



30 July, 1942
Monsignor Aerts and 12 Dutch MSC confreres are killed at Langgur, Indonesia, during World War II.



31 July, 1873
Father J.B. Chappel and Brother H. Dechâtre leave France for the very first MSC overseas mission: the mission in Canada! In 1875, they establish the first MSC residence in the USA, at Watertown, New York State. Former MSC Superior General, (2005-2017), Father Mark McDonald, MSC, was born and grew up in Watertown!


31 July, 1878
Father Chevalier signs the purchase deed of the Church of St James of the Spaniards, Piazza Navona, Rome. Today it is known as the Church of Our Lady of the Sacred Heart.

Clean Water Vietnam Project, Roger and the Mission Office

But, all courtesies are offered to visitors to Vietnam.

Roger Purcell, director of the MSC Mission Office, visits Vietnam for a clean water project.

Surveying the project

And Transport laid on

End of an era at Henley Beach

After nearly 110 years of ministry in the western suburbs of Adelaide, the Missionaries of the Sacred Heart will withdraw from Henley Beach parish at the end of the year.

     Jenny Brinkworth Southern Cross

Announced in a joint statement from the MSC community and the Parish Pastoral Council on June 7, the decision was communicated in person to parishioners by MSC provincial Fr Chris McPhee at Mass on Trinity Sunday.

Fr McPhee said he understood the decision would come as a shock to many and stressed that it had not been made lightly.

“The MSCs have been present and ministered in Adelaide at both Hindmarsh and Henley Beach since 1914,” he said.

“This decision comes with great sadness from the MSC community here at Henley Beach and no doubt is a shock to all parishioners.”

Fr McPhee said there were 108 MSC men in Australia, 82 of whom were aged over 70 years and 26 of whom were in full-time ministry.

At Henley Beach, three of the priests are aged over 73, “even though they don’t look it”, he quipped.

The MSC will maintain a residence on Port Road in Croydon, and Fr Paul Cashen and Fr Paul McCormack will move to this residence at the end of the year.

Fr Paul McCormack is expected to continue in his current role as chaplain at St Michael’s College and both priests have indicated they will continue to deliver the candlelight Mass, adoration and supply assistance if and when required.

Parish priest Fr Peter Hearn will receive a new appointment next year and Br Kenji will continue his formation towards his ordination.

Sister Helen Armstrong, a member of the Daughters of Our Lady of the Sacred Heart, will continue her support of the parish.

​“This is truly sad news for us all and comes with great sadness from the MSC community, but we should not lose sight of the great strength found throughout our parish community,” the joint statement said.

“We are known for our welcoming, passionate evangelisation, mission outreach, care of the poor, love, support, and acceptance.

“We must pray for support from our Father, our Mother Mary, who we call on each week, to hold ‘the parish of Henley Beach’ in her arms. Thus far, we have never been abandoned. We must trust in Gods way, open our hearts to what God is calling us to be.”

The MSC ended its involvement at Hindmarsh-Findon in 2017.

I’M YOUR MAN/ ICH BIN DEIN MENSCHE

Germany, 2021, 100 minutes, Colour.

Maren Eggert, Dan Stevens, Sandra Huller.

Directed by Maria Schrader.

A film about German robotics developments, with touches of German humour and touches of German seriousness.

Maren Eggert portrays an archaeologist, investigating uniform with other experts, only to find that she has been beaten to solutions by Brazilian rival. In the meantime, she has agreed to test out a robot, its human qualities, the possibilities for the robot to be a companion for lonely humans and to respond accordingly. She is sceptical.

The robot she has to test is called Tom and is seen in the form of Dan Stevens, touch of the British accent in German, suave and good-looking, attentive and considerate. The algorithms have programmed him that way. However, initially at a social and dancing, something of the mechanics fails and he has to go back for re-checking and fixing. She is unwilling to continue the test.

However, complications from her failure in making progress with her findings, some drinking, some attentiveness from Tom, they go home together, testing his empathy and mechanics for sexual companionship. In the morning, sober, she rejects Tom and writes a report stating that the experiment should stop, and making the point is that this kind of companionship is to the detriment of human feelings and relationships.

But, there are more complications than just simply writing reports, Tom is seeking her out as she goes to her family home, shows how attentive he can be, and the effect on her.

So, the screenplay offers both sides of the argument, the dehumanisation, and the conversation in feelings for lonely people, leaving it to the audience to decide which is the more persuasive argument.

1. Future world? Technology? Robotics? Consequences for human behaviour?
2. The German film, the setting, the city, recognisable with apartments, offices, laboratories? Clubs, the countryside? The musical score?
3. The development of robotics, androids, algorithms and programs, personality, knowledge, no basic human functions of eating or sleeping, re-creating sexual behaviour? The effect on the humans, the robots as extensions of themselves?
4. Alma, scientist, her work on uniform languages, her colleagues, research, her boss? Possibilities of travel? The discovery of a Brazilian investigator publishing on the same themes? Devastated?
5. Her role with Tom, agreeing to test Tom, meeting, at the club, his talk, manner, personal and impersonal? Alma and her testing the other robots, their aura? Her personal life, not wanting a relationship, the discussions with Roger? The former boyfriend, his new partner, the housewarming, his visit and suspicions, her going with Tom to the party, the collapse of the partner, Tom helping her?
6. Alma and her past, her sister, father, memories of the boyfriend Tom in the past, her yearnings? Recreation of these memories?
7. Tom, suave, accent, the touch of British, courteous, anticipating thoughts, preparing breakfast, standing in the rain…?
8. Alma, her disappointment, her drinking, the return home, Tom and his manner, the sexual encounter and the consequences for her?
9. Sending him back? The encounters with the robotic woman, in charge of programming, the discussions, the philosophy of the robots, her visiting the house?
10. Tom, disappearance? Alma, her sadness, revisiting the past scene, Tom waiting for her?
11. The discussions with the colleague, his having a companion, his exhilaration and happiness with her?
12. Her report, against robots, the solid rational arguments against humans relying on them and losing to humanity?
13. And yet the final discussion with Tom, and her own feelings?

MOTHERING SUNDAY

UK, 2021, 105 minutes, Colour.

Odessa Young, Josh Lawson, Colin Firth, Olivia Coleman, Glenda Jackson, Sope Dirisu, Patsy Ferrin, Emma D’Arcy.

Directed by Eva Husson.

Back in 1924, servant were given a Sunday off to go to visit their families or for some free time. The first part of this film takes place on such a Sunday – however, there are many flashbacks, and a number of flash-forwards, making the narrative quite complex. And, within small scenes, the flashbacks occur, a kind of meandering of memories, not quick dramatic cuts, but rather the central character, Jane Fairchild, experiencing, remembering cherishing… She is a servant in the house of the Niven family, with strong performances by the always reliable Colin Firth, a kind and rather mournful man, giving the story some gravity. And there is Olivia Coleman as his wife, more than a touch of the neurotic.

This is a British story, based on a novel by Graham Swift (Last Orders) and adapted for the screen by Alice Birch, responsible for quite a number of television series including Succession. Strong credentials. However, in its storytelling, in its style, in its photography, in its pacing, it is not particularly what we are used to as British filmmaking. And, the director, Eva Husson, is, in fact, French. Mothering Sunday does seem a very French kind of film, Impressionist storytelling and character drawing, and a straightforwardness with the presentation of the central characters in what the French, not the British, would describe as ‘deshabille’.

On the Mothering Sunday, Jane goes on her day off to visit the son of a neighbouring wealthy family, Paul, played by Josh O’Connor  (God’s Own Country, Prince Charles in The Crown where Olivia Coleman plays his mother, Queen Elizabeth). A great deal of time is spent with Jane and Paul, the families meantime waiting for him at a picnic at Henley. The relationship between the two is played quite languidly, with those memory flashbacks from Jane, and her wandering the house after Paul has left for the picnic.

We have not been prepared for the surprise in the second part of the film. And, while there are scenes from the 1924 Mothering Sunday, we move into the 1930s, Jane working in a bookshop, encouraged to write, encountering a sympathetic philosopher, Donald (Sope Disiu who has a considerable career in British television). There is joy and sadness in this part of Jane’s life. Because she is an orphan, she has been told by Mrs Niven that she has had all her bereavement, comprehensive bereavement, at birth, all her losses – and should only look forward to happiness. Not true.

Audiences will be pleased to see Glenda Jackson’s name amongst the cast. She is glimpsed early but her main seen, a cameo, is at the end of the film, a pleasing and welcome scene, a tribute to Glenda Jackson in her mid-80s, memories of her powerful stage and screen career, two Oscars, an MP for many years. But, the film belongs to Sydney-born Odessa Young (The Daughter, Looking for Grace and an American career since 2016). In fact, she is 62 years younger than Glenda Jackson – who knows what her CV might be like and 60 years time!

1. The writings of Graham Swift? British stories? The past? Events, memories, the fluidity of time?
2. 1924, the Sunday, the Niven home, mansions, grounds, the countryside? Bicycling? The railway station? Costumes and decor? The musical score?
3. The title, servants, having the day off? The attitude of the families? Mr Niven giving Jane the coin? The other servants, free time?
4. Jane’s story, background, orphan, orphanages, fostering, having all her bereavement is comprehensively at her birth? In service, the details of her work in the house, relationship with Mr and Mrs Niven? The phone call, revelation of her relationship with Paul? The two servants, cycling, the railway station, her going to the house, Paul waiting for her?
5. The central part of the first half of the film, her character, her telling her story and remembering, Paul, his remembering, his brothers, the happy games of the past, and listing, their deaths in the war? The sensuality of the relationship, sexual experience, naked, walking through the house? Confiding in each other, the plans? Paul and his engagement, his fiancee, the family is waiting at Henley, the picnic? Paul and Jane, the languid time together? His leaving, instructions for her to lock up? Her wandering the house, the books, her love of books, the food, leaving the house?
6. Jane and her memories, going back to the past, 1918 and the end of the war? Her slipping in and out of memories?
7. The flashforwards, the 1930s, the bookshop, the writing, the relationship with Donald, the domestic scenes together, his philosophy, encouragement, his illness, her accompanying him, his death, the secrets?
8. The flash forward to the end, Glenda Jackson as Jane in old age? And at the end of the film, winning awards, her talking to the media, the satisfactory and of her life?
9. Mr and Mrs Niven, he rather melancholic, quiet, some gravitas? She neurotic, her behaviour, erratic, at the table, at the picnic? Outbursts? Sadness of those killed during the war?
10. Paul’s fiancee, getting ready, her manner, attitude, make up, concerned about herself, the engagement, at the picnic? The others members of the family, their bereavement with the other deaths during the war? Paul and his being late?
11. Mr Niven with Jane, the news of Paul’s death, the visuals of the accident, the car, from above and the fire? Jane, hearing the news, her grief in the kitchen? With Mr Niven, going to the house, letting the servants know? The servant their talking about how the house was left and Jane hearing this?
12. Jane giving notice, Mr Niven commending her, going to work on the bookshop? In the bookshop, the gift of the typewriter from the proprietor, her beginning to write? The scenes of her writing, her reading?
13. Writing the memoir of her time with Paul? The time with Donald, love? Two deaths?
14. A portrait of the period? Portrait of a character from the lower class, downstairs, the encounter in love with the man from upstairs? Her talent for writing? The influence on her life?

A HOUSE ON THE BAYOU

US, 2021, 88 minutes, Colour.

Angela Sarafayan, Paul Schneider, Lia McHugh, Jacob Lofland, Doug Van Lieuw, Lauren Richards, Rhonda Johnson Dents.

Directed by Alex McCaulay.

Those who like their thrillers, with a touch of horror and the supernatural, to be a differential bit different, this is a film they might like.

It is based on an interesting concept – and there is quite a twist in the middle of the film which generates more interest in how the plot will develop.

Basically, this is a story of marital infidelity, the wife hurt and denouncing her unfaithful husband who promises to break the affair, his daughter who is devoted to him. The wife suggests a holiday together because she will not give him a divorce and they go to this house in thebayou. It is quite a mansion but they spent only a few hours in it because the plot develops.

The vindictive wife insists that the husband go to shop locally, 20 miles away, an issue about veal cutlets which he does not like but she wants to cook! At the store, the daughter encounters an attentive young man, Isaac, Jacob Lofland, and his grizzled grandfather Doug Van U, who writes a warning message on the docket that the devil is watching.

What happens is that Isaak invites the family out to dinner, at first reluctant, then agreeing, then finding Isaac and the grandfather arriving with the food and preparing it. Things become a bit creepy, the mother wary about Isaac eyeing the daughter. But, the two men decide to stay with quite unexpected turns in what happens.

Which means then no more plot indications in this review, rather than a recommendation that if this sounds interesting, to follow it through, because it is. And, there are some supernatural implications and moralising.

1. Family drama, diabolical background, touch of the supernatural?
2. The family home, the accusations of an infidelity, the trip to the bar you, the house, the grounds, the interiors? The store in town? Atmosphere? Musical score?
3. Jessica’s story, the marriage, love for John, information about his infidelity, the accusation, his denials? Apologies? Ana, her age, her mother devoted to her, her devotion to her father?
4. The decision to have the holiday, Jessica’s decision, estate agent, finding the house, the drive, and as complaints, the house itself, settling in? Jessica and her being vindictive, sending John to do the shopping, the argument about veal cutlets?
5. The visit to the store, the old man, the message about the devil watching? I sack at the store, talking with Anna?
6. Isaak, his arrival, the invitation to dinner, Jessica hesitant, excepting? Their getting ready, the discussions?
7. I sack and the old man, their arrival, with the food, making the meal? The conversation? Jessica uncomfortable, wanting them to leave? I sack and his knowledge of the house, staying?
8. The sense of menace, Jessica and her fears, and a? The locker room, mystery, the key? John and his protection for his wife and daughter against the intruders? The old man and his utterances? And the mystery, his knowledge, age, back story and appearance?
9. Opening the door, I sack trapping John, the mystery of the room, the lights, the revelation that John had set up Isaak and the old man to kill Jessica, vindictive?
10. The issue of the record, the old man playing it, John and his relationship with Vivian?
11. Isaak, John, diabolical, the physical attack, Jessica getting to the room, John’s death?
12. The arrival of Vivian, apologies, wanting to break off, in the car, trapped, ice axe menace, the fire and her death?
13. Jessica, the confrontation with the old man, with Isaac, saving Anna?
14. Going to the police, the visit to the house, the disappearance of the house, the deputy and her explanation of the house and the role of Isaac, conscience, punishment on sinners?

IN THE DARK

US, 2013, 89 minutes, Colour.

Elizabeth Rohm, Sam Page, Shannon Elizabeth, Elizabeth Peña, Patrick Muldoon, Aiden Turner, Richard Portnow.

Directed by Richard Gabai.

A television movie that has reminded many audiences of the Audrey Hepburn classic of the 1960s, Wait Until Dark. Both are fair and unfair comparison.

This is a more modestly ambitious film, an artist, Ali (Elizabeth Rohm) blinded in a car accident which is killed her husband and daughter. The hospital, in the person of Elizabeth Peña, recommend a carer, Jeffrey (Sam Page). Which leaders along to, perhaps, some romantic expectations.

But, this is a thriller, Ali coming to like Jeffrey and relying on him, but also making friends with the young woman across the street, Linda (Shannon Elizabeth) the two getting on well.

Which means then that it is romantic that in the perverse sense, Jeffrey becoming more and more obsessed with Ali, photographing her in bed and in the shower, contemplating this, is leading a lonely life, becoming more and more jealous of Linda. Which leads them to violence and disaster.

Not an ambitious film, but completing effectively what it sets out to do.

1. The title? Blindness? Coping with blindness, caring for the blind? Support? Dangers and melodrama?
2. The art setting, the Gallery, the drive home, the crash, the deaths, hospital, Ali, blind, arrangements for care, the introduction to Jeff, the background of her art, the studio, sculptures? The musical score?
3. Ali and her story, background, her husband, the drinking, the crash, love for her daughter, flashbacks and their memory? The photos? Six months, hospital, doctor why net, the discussions, arrangements for Jeff, her initial reaction?
4. Jeff, his presence, charm, background of his blind family, caring? Respectful for Halle? Taking her home, guiding her, arrangements in the house, his presence, going home, his becoming involved, Ali excepting him, her dependence on him?
5. The encounter with Linda, in the street, her living opposite, talking, befriending Ali, outings together, visits, discussions?
6. Jeff, observing, becoming more obsessive, jealous of Linda, hostile to her? His own obsessions, finding the camera, photographing hourly in bed, the shower, is continually watching the film is?
7. The visit of doctor why net, her encouragement, ideas for Jeff as a carer?
8. The meal, Linda arriving, the casserole and the pot, the tension in the meal, into going to the bathroom, seeing the photos, Jeff’s photo instead of Marley’s husband? Her being uncomfortable, going home?
9. Jeff, controlling hourly, the drugs? Going to Linda’s apartment, the pot, the confrontation, killing her?
10. Hourly going to the apartment, discovering Linda’s body, the police, the detective, Jeff and his explanations of himself?
11. Hourly, more suspicious, the photo and the substitution, the pills, the dish and her recognising it was not Linda’s pot… Exposing Jeff?
12. A variation on the Wait until Dark, domestic, obsessive carer, television movie entertainment?

More Sacred Heart Day – MSC Vietnam

Lay MSC and community

And visitor, Roger Purcell from the MSC Mission Office

Sacred Heart Day,  Heart of Life, Kensington Monastery, Blackburn parish

You have the weekend to look at all these photos.  Thanks to Clare Sherman and Hoa Tran – and, in Sydney, Peter Hendriks.

Lunch at Heart of Life

From Clare Shearman: “A feast for a feast day” was the invitation to friends and colleagues to come for lunch at Heart of Life today.  Around 25 MSCs, staff, volunteers, students and friends of Heart of Life gathered for a short blessing and a long lunch. 

Paul Castley MSC provided a short reflection and prompted us to connect with the suffering in the world with open hearts to truly ‘be on earth the heart of God’ in bringing healing where we can. 

We were led in a time of blessing by Peter Hay and Marlene McGrath (Heart of Life Supervisors). 

They encouraged us to reflect on how we had experienced God’s heart on earth and/or how we had been God’s heart on earth in the last week.  Some answers included “being welcomed with open hands”, “helping someone after an accident”, “listening to another without judgement”, “being able to be myself”, “being honoured by others for my work.” 

Susannah Tan organised the feast as well as this fabulous photo backdrop for us all to enjoy.  The day is not over yet – we are off to Blackburn to join in with the MSC celebrations in the Parish there. 

You will find this after the Kensington gallery.

Lunch at Kensington Monastery

Steve Dives, Martin Wilson, John Frith

Catherine Molihan

Terry Naughton, Frank Dineen

Chris McPhee, Jim Littleton

Tan, Kevin Ehlefeldt

Patrick Sharpe

Chris Murphy, Anne McAtomney

Ben Fleming

To Blackburn, Evening Mass in the parish.

Mark Hanns presiding, Vincent serving,

Peter Malone using clips from Passion of the Christ and Jesus of Nazareth for a homily.