The novice priest declares himself unable to pursue his calling, given the sinfulness that he speaks of in his parish. But, from the start, he is pouring out his feelings of inadequacy without our seeing anything that he has had to face. It is all mere talk; and his near hysteria might be explained when, after he has collapsed (in a faint, or a fit?), his sympathetic and humble spiritual adviser uncovers the blood-spattered chest--the consequence of his self-flagellation, of which we witness another bout later. Is he fanatical, or mad?
We see nothing of the parochial trials, and sickness, endured by Bernanos' Curé de campagne (Robert Bresson's film), faced with hostility and mockery from his villagers. The two traumatic events (Mouchette cutting her throat, and a dying boy "coming to life" in the priest's arms) shock us, but do not form an integral part of the curate's spiritual day-to-day experience. They are merely sensational. Depardieu is not convincing as an agonised believer. Yet, in the spontaneous sincerity of his accompanying interview, he appears to draw inspiration from Augustine!
We see nothing of the parochial trials, and sickness, endured by Bernanos' Curé de campagne (Robert Bresson's film), faced with hostility and mockery from his villagers. The two traumatic events (Mouchette cutting her throat, and a dying boy "coming to life" in the priest's arms) shock us, but do not form an integral part of the curate's spiritual day-to-day experience. They are merely sensational. Depardieu is not convincing as an agonised believer. Yet, in the spontaneous sincerity of his accompanying interview, he appears to draw inspiration from Augustine!