Starring: Mickey Rourke
Distributor: Heritage Films
Runtime: 109 mins. Reviewed in Apr 2022
Reviewer: Fr Peter Malone msc
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A visit to the world of the Greek Orthodox church, focusing on the Bishop Nektarios, declared a saint in 1961. He was a victim of power-intrigues within the church, but lived a life of asceticism.
Here is a cinematic invitation to visit the world of the Orthodox Churches.
This has been a welcome film for members of the Greek Orthodox Church. It is a Greek production, a Greek cast plus some Russians, and a cameo at the end of the film by Mickey Rourke as a paralysed patient in the hospital. Those not familiar with Orthodox Christianity will be intrigued by differences from their own experiences.
The man of God of the title is a bishop, Nektarios (Servetalis), who was declared a saint in 1961.
The film opens in Alexandria in 1890, introducing us to Nektarios as a good man, encountering the poor, talking with Muslims. But, then we enter the world of ecclesiastical politics and this pervading issue throughout the film has a deep effect on the life of Nektarios. Many want him to find a high place in the hierarchy, eventually to become the Patriarch. However, he has been denounced, is out-of-favour with the authorities, and accused of being a fraud. The scenes of the bishops arguing the case, their reasons for condemnation, are the familiar discussions in all aspects of politics, church and secular.
The action then moves to Athens, Nektarios is labouring under the reported suspicions, unable to be given an appointment for ministry. We see him working with the poor, living the life of the poor. In some ways, he is the image of the traditional saint, absolutely devoted entirely to God, stern, rarely smiling, self-sacrificing. Later, he will be engaged in a discussion about asceticism – and he is the model of the ascetic. He also finds that he was born in a part of Greece now seconded into the Turkish Empire, and his not being recognised as a Greek citizen.
However, we see that there is a providence in his life. He is asked to be the head of the seminary in Athens. Once again, complete dedication, certainly not always approved of by the Board of the seminary, especially one member, Christos, continually antagonistic towards Nektarios. When the janitor is ill and his job threatened, Nektarios cleans the toilets.
In the early 20th century, there is another election in Alexandria, with Nektarios travelling, some wanting him elected patriarch – but the malevolent authorities continually undermine him.
In the latter part of his life, he accedes to the wishes of a group of women in Athens, the leader an earnest blind woman, who wish to be nuns. They move to the island of Aegina, building it up, living a poor life, but fulfilling their ambitions to live a community life. Again, church authorities are suspicious, with civic authorities sending the police to interrogate him, the mother of one of the nuns having gone to accuse him of misbehaviour – but he and the women are vindicated.
All the time, Kostas (Petrov), who himself had decided not to go on for priesthood, remains a firm supporter of Nektarios over the years. Kostas pleads with Nektarios not to go to the island, ultimately visiting him and concerned about him in his old age. Nektarios’ health declines, and he dies – leading to further veneration and the declaration of his sainthood.
In many ways, severe hagiography and the portrait of an ascetic, maligned, but caring for the poor and oppressed.
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