Pio XII (segunda parte)

II - TO THE REPRESENTATIVES
OF THE INTERNATIONAL UNION OF CINEMA
THEATRE MANAGERS AND OF THE INTERNATIONAL
FEDERATION OF FILM DISTRIBUTORS
(Audience of 28th October, 1955)

THE IDEAL FILM - A POWERFUL MEANS
OF MENTAL DEVELOPMENT, EDUCATION AND IMPROVEMENT

Gentlemen, in extending once more with a Father's tenderness Our welcome to you, who devote your lives to the cinema industry, We desire to confirm not only Our esteem for you as individuals and for your profession, but also the Church's watchful care over a means as important for the spread of opinion and custom as is the Cinema, in order to help raise it to the dignity of an instrument devoted to God's glory and man's full development.

In reverting, therefore, to this matter in this new meeting with the representatives of "the World of the Cinema", We propose, moved by the conviction of their importance, to complete the points We previously set out, the motives of which We then indicated at some length. To some, faced with the grave problems which harass the present age, and which certainly invite Our most earnest solicitude, this question of the Cinema might appear a subject of minor importance, and one not deserving the special attention which We pay to it. Certainly it seems that the Cinema, being by its nature an art and a diversion, ought to remain confined, as it were, to the fringe of life, governed, of course, by the common laws which regulate ordinary human activities; but since, in fact, it has become for the present generation a spiritual and moral problem of enormous importance, it cannot be passed over by those who have at heart the fate of the greater part of mankind and of its future. Above all, then, it cannot be neglected by the Church and Her Bishops, from whose watchfulness no moral question should be withdrawn, particularly if it reacts with consequences beyond calculation on countless souls, and in addition, by all upright men thoughtful for the common good, who are rightly persuaded that every human problem, great or small, goes down to the roots of the spirit more or less in darkness, and that in the spirit, once given light, it is duly solved.

It will perhaps redound to the disgrace of our age that many, particularly if their spiritual formation is weak, are allowing themselves to be brought to adopting behaviour in their private and public lives, which is determined by the artistic fictions and the unsubstantial shadows of the screen; yet this fact does not cease to be important and worthy of serious consideration proportionate to its effects. In a tomorrow of spiritual and civic decadence, for which the undisciplined liberty of the film would share responsibility, what a reproof would rise therefrom against the wisdom of the men of today, as men who did not know how to direct an instrument so suited to the education and development of souls, and instead left it to be turned into a vehicle of evil.

This confidence which We have in the Cinema as an effective and positive instrument of mental development, education and improvement, moves Us to exhort the makers and producers to spare no effort to free it not only from artistic decadence, but particularly from any share in a lowering of morals, and to present to them in perspective the unsullied regions of the ideal film.

Of this We previously set out the essential characteristics, but only in the first of the three aspects which it offers for examination, namely, in relation to the subject, that is to say, to the man to whom the ideal film is presented.

Now We pass on to explain the second point, viz.

2. - THE IDEAL FILM CONSIDERED IN RELATION TO THE OBJECT, OR TO ITS CONTENT

In tracing the lines of the ideal film with respect to its content, in order to avoid over-stepping the limits with unsuitable demands, and so that the essential elements may be gathered together, it is necessary to keep present the consideration already set forth on the absolute nucleus contained within the relativity of the ideal, i.e. the real essence of the film, its specific goodness, its proper worth. So it is to the point to recall to mind the concept of the ideal, viz. that which lacks nothing of what it ought to have, but which, on the contrary, possesses this to a perfect degree. In so far as the film has reference to man, it will be ideal in content to the extent that, in perfect and harmonious form, it measures up to the original and essential demands of man himself. Basically, these demands are three: truth, goodness, beauty -- refractions, as it were, across the prism of consciousness, of the boundless realm of being, which extends beyond man, in whom they actuate an ever more extensive participation in Being itself. It is true that, in individual cases, he who devotes himself, through art and culture, to provide man with a share in this realm, becomes aware in the end of having very inadequately satisfied his insatiable thirst; yet there remains to him the merit of having known how to divert to his advantage part of the stream of the original fullness of truth, goodness and beauty, in the measure of the possible and free from contamination: in other words, he has reconciled the relativity of the ideal with its absolute concept. Well then, can the film be a suitable vehicle for this triad in the mind of the spectator? Can an excellent means come therefrom, and - within the limits of its own proper method - one which is also perfect? The reply ought to be in the affirmative, even though it is not always verified - even, in the case of a film worthy to be classified as good, but which, by defect of some one of the elements and of the harmony between these, remains outside the ideal region.

It is clear that the content, or rather the choice of the plot, such as comes from looking with all possible fidelity at reality in its goodness and beauty, is of fundamental importance in the creation of the ideal film; but it is equally recognised by the specialists that not every choice is possible, since - not rarely - obstacles of an entirely practical nature interfere, which check the film maker on the threshold of the ideal, as, for example, the intrinsic impossibility of giving a visible representation to some truths, goodness or beauty. The film cannot presume, nor should it run the risk of challenging plots which escape the control of the objective, which cannot be reduced to images, being rebels, as it were, to scenic representation, for reasons either technical or artistic, or because of other considerations, such as reasons of social or natural delicacy, of respect or of piety, or even of prudence and the safeguarding of human life. Yet, in spite of these limitations, some intrinsic, others practical, the range of plots remains wide, rich, rewarding and attractive, no matter what may be the element of the triad which predominates in the individual film.

INSTRUCTIONAL FILMS

Taking each point in turn, we shall name first the film which sets instruction as its end, of which the principal attraction is founded on truth, in so far as it increases the acquired knowledge of the spectator. There is undoubtedly in this type a possible ideal to follow and its principles can be summarised thus: what it offers in information, explanation, depth, ought to be accurate, clearly intelligible, carried out by a perfect teaching method and artistic forms of a high order
Films solely for instructional purposes are relatively rare; more usually, perhaps out of regard for the varying background of the public, instead of deepening the subject matter, they weaken it and limit themselves to giving the essential notions.

And yet, if one takes account of the thirst for learning which the public shows and of the lack of which there is often complaint, this kind of film, provided it is executed with ideal perfection, would be well received by all, and at the same time - if duly developed and extended - would prove to be beneficial to civil progress.

The proof is given by the frequent production and the success of films based on the natural sciences, some of which deserve the title of ideal film.

Nature, which offers itself to the inspection of the attentive observer, reveals an inexhaustible wealth of goodness and beauty, reflecting back with transparent sincerity the infinite superabundance of the perfection and beauty of nature's Creator.

The film can yield an abundant harvest in its three-fold realm, and can traverse, using the technical means at its disposal, the harmonious paths of creation, opened by the physical and biological sciences, whether in the heaven's immensity or in the intimate secret places of the world of the microscope.

It is not without emotions of wonder that one is present at films which carry one into worlds unknown and sometimes unsuspected, which no other means can represent more vividly than does the cinema.

Sometimes one is enchanted and overcome by the majesty of towering mountains, at other times by the irresistible fury of the ocean tempest, the solitude of polar glaciers, the vast stretch of virgin forests, the melancholy of the desert sands, the loveliness of flowers, the limpid quality of water, the violent rush of waterfalls, the distinctive beauty of the Northern Lights, - visions all, which, reproduced with fidelity, and accompanied by a restrained commentary of words and music, impress themselves on the mind like the pictures of a journey. Greater astonishment and wealth of knowledge are offered by the unfolding of life in the films - and these are not infrequent - which reveal the secrets of the animal kingdom, and are obtained by expert photographers and producers after exhausting days and months lying in wait and observing, carried out in uncomfortable conditions in forests and in inhospitable deserts, on rivers and in the depths of the sea. What a testimony to the richness and manifold variety of nature, no less than to other activities, is drawn from such films, to soothe, recreate and refresh the spirit.

With equal pleasure and instruction, other films can look carefully at man himself, in whom the organic structure, the functional behaviour and the therapeutic and surgical processes for restoring him to health, offer objects of deep interest.

If then one passes to the works of man, subjects suitable to being artistically elaborated and for the spreading of learning on a large scale, are equally plentiful. Those films are appropriately called educational which describe the different races, customs, folklore, civilizations, and, more in detail, the methods of work, the agricultural systems, the traffic routes by land, sea and air, means of communication, types of houses and residences in different ages, gathered from the objects in many stages of their development, which includes the movements from the primitive huts of leaves and branches and goes on to the stately dwellings, the architectural monuments, the lofty skyscrapers of modern cities.

These indications are enough to show that the instructional film, provided it is treated according to the exact range of scientific data, presented in a new light and enlivened by a fresh breath of art sufficient to drive away the idea of a rigorously scholastic instruction, can, with respect to the content, offer with ease to the spectator, all that he expects from an ideal film in this class.

ACTION FILMS

On the other hand, it is difficult to present the end proposed in action films that is to say films, which represent and interpret the life and behaviour of men, their passions, longings and conflicts.
In this kind of subject matter, the ideal film is no everyday affair; and yet such films are numerous, and by far the most common. While that shows that a similar type is much in request and appreciated by the public, it at the same time demonstrates the serious difficulties with which the ideal film is confronted in actual production.

We showed previously - speaking of the importance of the Cinema and studying the matter from the point of view of the spectator - in what consists the attraction of the plot films, what influences are exerted on the mind and what psychological reactions are thereby produced. The same considerations now return for review, dealt with, however, in their causes, the first of which is certainly the content or the matter which is chosen for treatment.

Now it is precisely in the choice of content that the difficulties begin for the author or conscientious producer who puts before himself the ideal film; some of them come almost immediately from the shaping and the fixing of the limits of the matter itself, especially in the most important moments; others again, and these sometimes insuperable, from the availability of the actors who would be capable of giving humanly and aesthetically perfect expression to the chosen subject.

Is it possible, then, for every matter capable of representation to be accepted by one who sets before himself the ideal film? Some reasons for exclusions have already been indicated: they are based on moral, social, human considerations which of necessity restrict absolute freedom of choice.
Two particular questions, however, deserve to be treated with greater care.

FILMS ON A RELIGIOUS SUBJECT

The first: in the plot-films, is it permitted to take religious topics as subject-matter of plot-films? The answer is that there seems no reason why such topics should be, in general and on principle, excluded; the more so, since experience, tested in this type, has already given some good results in films whose content is strictly religious.

But further, when the theme is not expressly such, the ideal plot-film should not pass over the religious element. Indeed, it has been noted that even films morally above reproach can yet be spiritually harmful if they offer the spectator a world in which no sign is given of God or of men who believe in and worship Him, a world in which people live as though God did not exist. A brief moment in a film can sometimes be sufficient, a word on God, a thought directed towards Him, a sigh of confidence in Him, an appeal for divine help. The great majority of people believe in God, and in their lives religious feeling plays a considerable part. Nothing, then, is more natural and more suitable than for due account to be taken of this in films.

On the other hand, we must recognise that not every religious action or occurrence can be transferred to the screen, because either a scenic representation of it is intrinsically impossible, or piety and reverence are opposed to it. Moreover, religious topics often present particular difficulties to authors and actors, among which perhaps the chief is how to avoid all trace of artificiality and affectation, every impression of a lesson learnt mechanically - since true religious feeling is essentially the opposite of external show, and does not easily allow itself to be "declaimed".

Religious interpretation, even when it is carried out with a right intention, rarely receives the stamp of an experience truly lived and as a result, capable of being shared with the spectator.

Another question to which it is difficult to give a definitive answer is whether the portrayal side by side of different forms of religious belief is a suitable or opportune topic for a plot-film.

Examples of such films are not lacking, produced with the purpose of representing the various types of religiousness, derived either from real actions or from scenes portrayed with that end in view.
In every case, whether films of an instructive nature are handled, or the intention is to offer the spectators the drama of struggle between two lives religiously different in their orientation, there is need of considerable finesse and depth of religious sentiment and human tact, in order not to offend and profane what men hold sacred (even though they be motivated by objectively erroneous thoughts and feelings).

The same precautions and needed limitations are imposed in historical films which treat of men and events at the core of which are religious quarrels not yet completely calmed: the prime requisite here is truth, which however must be united with charity in such a way that one does not suffer at the expense of the other.

FILMS AND REPRESENTATION OF EVIL

The second question about the content of the ideal film of action concerns the representation of evil: is it lawful to choose, and with what precautions must one treat, evil and scandal, which without doubt have such an important part in the lives of men? Surely human life would not be understood, at least in its great and momentous conflicts, if our eyes were closed to the faults which often cause these conflicts. Pride, unbounded ambition, lust for power, covetousness, infidelity, injustice, depravity -- such, unhappily, are the marks of the characters and actions of many, and history is bitterly interwoven with them. But it is one thing to know evil, and to seek from philosophy and religion its explanation and cure; quite another to make it an object of spectacle and amusement. Yet for many there is an irresistible fascination in giving artistic shape to wrongdoing, in describing its power and its growth, its open and hidden paths, and the conflicts it generates or by means of which it advances. One might say that for a basis of story and picture many know not where to look for artistic inspiration and dramatic interest except in the realm of evil, even if only as background for good, as shadow from which light may reflect more clearly. To this psychological attitude of many artists corresponds an analogous one in the spectators, about which We have spoken previously.

Now then, can the ideal film take such matter for its theme? The greatest poets and writers of all times and of all peoples have grappled with this hard and thorny theme, and will continue to do so in the future.

To such a question a negative answer is natural, whenever perversity and evil are presented for their own sakes; if the wrongdoing represented is at least in fact, approved; if it is described in stimulating, insidious or corrupting ways; if it is shown to those who are not capable of controlling and resisting it.

But when none of these causes for exclusion are present; when the struggle with evil, and even its temporary victory, serves, in relation to the whole, to a deeper understanding of life and its proper ordering, of self-control, of enlightenment and strengthening of judgement and action; then such matter can be chosen and inserted, as a part of the whole action of the film. The same criterion applies here that must rule any like artistic medium: novel, drama, tragedy, every literary work.

Even the Sacred Books of the Old and New Testaments, faithful mirrors of real life, contain in their pages stories of evil, of its action and influence in the lives of individuals, as well as in families, and peoples.

They too allow a glimpse of the intimate and frequently tumultuous world of those men, telling of their failures, their rise, or their final end. Though strictly historical, the narrative frequently has the pace of fine drama, the dark colouring of tragedy. The reader is struck by the unusual artistic and liveliness of descriptions, which even from the merely psychological point of view, are superb masterpieces. It is enough to recall the names of Judas, Caiphas, Pilate, Peter, Saul. Or from the age of the Patriarchs: the story of Jacob, the events of Joseph's life in Egypt, in the house of Potiphar; from the Book of Kings: the choice, the rejection, the tragic end of King Saul; or the fall of David and his repentance; the rebellion and death of Absalom and numberless other happenings.

Their wrongdoing and guilt are not masked by deceitful veils, but told as they really happened; nay, even that part of a world stained by guilt is enveloped in an aura of uprightness and purity, produced by an author, who, while faithful to history, does not exalt or justify, but clearly urges the condemnation of wickedness; in such wise the crude truth does not arouse disordered passions or impulses, at least in mature persons.

On the contrary: the serious reader becomes more reflective, more clear-sighted, his mind, turning inwards, is led to say "take heed lest you too be led into temptation" (cf. Gal. 6, 1)"if you stand take heed lest you fall" (cf. I Cor., 10, 12).

Such conclusions are not suggested only by Holy Scripture, but are a legacy of ancient wisdom and the fruit of bitter experience.

Let Us leave, then, the topic that an ideal film can also represent evil, sin and corruption; but let it do so with serious intent and in becoming manner, in such a way that its vision may help deepen knowledge of life and of man, and improve and elevate the soul.

Therefore the ideal film should flee from any form of apology, much less of glorification, of evil, and should show its condemnation through the entire course of the film and not merely at the end; frequently it would come too late, i.e. after the spectator is already beguiled and entrapped by evil promptings.

Such are the points We wished to expound to you on the ideal film in relation to its object, i.e. its theme. There remains only for Us to add a brief word concerning the ideal film in relation to the Community.

3. - THE IDEAL FILM SEEN AND CONSIDERED IN RELATION TO THE COMMUNITY

When, at the beginning of this discourse, We remarked that the film producer, in a short span of years, has practically given our century its characteristic mark, We implicitly affirmed the existence of a relationship between him and the community. From this immense influence on the community and on the common good, We drew strong arguments to stress the importance of films, and the duty of the community to exercise a lawful watch over their moral quality.

Now it is time to consider the relation between films and the community itself, in whatever they have that is positive, or, as is more commonly said, constructive; this in conformity to Our purpose, which is not to make empty accusations, but to bring the cinema to become an ever more fit tool for the common good. What can an ideal film offer of value to the family, the State, the Church?

a) The family

The family. In subdividing Our discussion, let Us give first place to the family, also because it is often called on to assist at showings of films from which, however, it does not always return with its high and sacred dignity unsullied. The family was, is, and will remain the source and channel of the human race and of mankind. Masterpiece of the Creator's supreme wisdom and goodness, from Him has it received the laws, the prerogatives, the duties which open for it the road towards the fulfillment of its own high destiny. Based on love and for love, the family can and should be for its members: spouses, parents, children, their own small world, refuge, oasis, earthly paradise in the fullest measure attainable here below. Thus it will be in reality, if it is allowed to be what the Creator willed, what the Saviour confirmed and sanctified.

Meanwhile, much more than in the past, today's confusion of mind, as, also, the not infrequent scandals, have induced not a few to belittle the vast treasury of good the family can dispense: hence its praises may easily be listened to with a smile tinged with scepticism and irony.

A useful study would be to examine the degree to which some films have helped spread such an attitude, or whether they merely servilely adopt that outlook to satisfy such desires, if only with fictions. Surely it is deplorable that some films are in agreement with the irony and scepticism directed at the traditional institution of the family, by exalting its erroneous conditions, and especially casting empty and frivolous disdain on the dignity of spouses and parents.

But what other human good would remain for man on earth if the family, as ordained by God, were destroyed? It is, therefore, a lofty and delicate task to restore to men an esteem for and trust in the family.

The motion picture which every day shows such great interest in and efficacy with regard to this point, should consider as its own that task, and perform it, portraying and spreading a concept of the family which is naturally correct and humanly noble, describing the happiness of spouses, parents and children, the great worth of being united by the bonds of love in repose and in struggle, in joy and in sacrifice.

All that can be gotten without many words, but with fit pictures and by developing attractive situations: now, of a man, endowed with a strong character, who does his duty, who dares and struggles, who knows also how to endure and wait, how to act manfully and firmly, and at the same time maintain and prove an unshakeable fidelity, sincere conjugal love and the constant solicitude of a father; again, of a woman, in the worthiest and noblest sense of the word, wife and mother of stainless conduct, open-minded, capable within and without the family, and at the same time devoted to home and its intimacy, because she knows how to find there all her happiness; and again, of children, respectful to their parents, earnest in their ideals, serious in searching for the better things, always lively and jovial, but at the same time obliging, generous, intrepid.

An action film, which translates all that by lively and interesting plots, by perfect art forms, such as experts are not incapable of producing, would be, in what concerns the good of the community, an ideal film in the full and true meaning of the term.

b) The State

Let Us briefly study the ideal film in its relationship with the State. It is helpful to agree on the meaning of this word, and determine that here there is question of deciding how the film, which more or less expressly concerns itself with subjects treating the political community, can play a part in attaining the good of that community.

We prescind, therefore, in Our remarks from the so-called political films, those of parties, classes and such, which are propagandistic in purpose, or even foment struggle, and serve a given political aim, a party, a class, a system. At the bottom of all these exists the natural institution of the State, whose concept is distinct from the various forms which in the concrete express its development; forms which come and go, which change, which often are repeated at intervals in the course of history, along with the modifications and adjustments brought about by new conditions. The State, however, is something stable and necessary in its nature and essence; it remains, despite the vicissitudes of its concrete variable forms. To this essence, which is good in itself and a source of good for every member of the community, We now turn Our thoughts.

The State is of natural origin, no less than the family; this means that in its essence it is an institution willed and given by the Creator. The same holds for its necessary elements, such as power and authority, which flow from nature and from God. Man, indeed, is inclined by nature, and hence by God, to unite in society, to collaborate for his fulfillment through a mutual exchange of good deeds, to organize a social body in accordance with the variety of individual aptitudes and actions, to strive for a common goal, which consists in the realization and preservation of the true common good through the harmonising of individual activity.

Men, therefore, are obliged to acknowledge, accept and respect the State, its authority, its right to direct the common good as its proper end. Yet, because in this field also, the confusion of minds frequently begets hindrances or even repugnances, it will always be to the point to lead the minds of men to strengthen the true bases of social life.

The film producer can give important help in this matter, too, though it is not his first and most important task. Still, with that effectiveness peculiar to it, his activity can usefully enter to block divisive tendencies, to remind men of whatever good has been neglected, lead them to esteem correctly what has been falsely valued. That can be done when state institutions or activities, such as the provisions of legislation, of administration, of justice, are touched on and are aptly portrayed, as nature has designed them and in accordance with her norms.

Using the artistic resources at their command, capable authors and producers, can, without stopping at abstract teaching, easily show and bring before the spectator's attention what is helpful to all, what truly protects and aids them in the community of the State, the reasons for exercising or not exercising State authority. Did We perhaps fail to point out forcefully enough how profound is the influence of a well made film, and how much it bends men's minds to what it intends? Well then, an action film, such as the one described above, would calm and instruct the mind, would lessen selfish and harmful attitudes in the community, would spread a more firmly based awareness of the need for cooperation, and larger ideas, helping men, in the interest of the public good, to rise above errors that otherwise might be inevitable and perhaps irremediable.

Thus the cinema, without renouncing its own characteristics or suffering any loss, can fulfill its role to the community's advantage, strengthen the sense of loyalty to the State, and promote its progress. Such a film would be far indeed from political films, those of party and class and even of a given country; it could be everyone's film, because serving the fundamental nature of every State.
Our development of the ideal film in its relation to the community would not be complete without a word concerning its relation with the Church.

c) The Church

Christ's Church, unlike the family and the State, does not owe its origin to nature, but rests on the positive foundation of the Redeemer, Who has entrusted to her His truth and grace, that she may be the light and strength of men as they journey through earthly life towards the heavenly country.

Such a noble organism, which embraces a whole spiritual and supernatural world, completely escapes any artistic portrayal, since it transcends the very possibilities of human instruments of expression. Yet a basic awareness of her presence will assure for her that respect and reverence she deserves. If it should happen - as not infrequently occurs - that a film deals with events in which the subject of the Church enters with more or less importance, then the film should treat that subject according to truth and knowledge with religious tact, simplicity and decorum. For the rest, We have already expressed Our thoughts when treating in general the choice of religious themes. Now We add only one suggestion: if a film, especially an action film, wishes to be faithful to the ideal in whatever touches the Church of Christ, it should, besides being perfect in artistic form, be conceived and executed in a way that inspires in the spectator understanding, respect, devotion to the Church, and joy and love in her children, and a holy pride in belonging to her.

It is not impossible that historical motives, demands of plot, or even sober realism make it necessary to present failures and defects of ecclesiastical persons, of their characters and perhaps also failures in the performance of their office; in such cases, however, let the distinction between institution and person, between person and office, be made clear to the spectator. For the Catholic, especially, that film will be ideal in which the Church emerges radiant in her title of "Holy Mother Church"; Holy Mother, in whom he trusts, to whom he clings, in whom he lives, from whom his soul and innermost being draw human perfection and eternal happiness.

That, Gentlemen, is what We wished to say to you about the cinema, to which you have dedicated your activity, your talents, your daily labour. We would like now to close Our discourse on the importance of the cinema and on its ideals by revealing to you Our deepest feelings. As We spoke, there came before Our mind the immense crowds of men and women, of youths and of children, to whom daily the film speaks its powerful language; We gathered up their longings and hopes with love and fatherly solicitude. The majority of them who are, in the depths of their souls, good and sound, ask no more from the cinema than some reflection of the true, the good, the beautiful: in a word, a ray of God. You, too, listen to their plea, and answer their expectations, so that the image of God, stamped on their souls, may always glow clear in the thoughts, the feelings, the deeds inspired by your art.

With this wish, which is also a new proof of the esteem and interest We have in your work, We call down on you the blessings of heaven, and as their pledge We give you, from the depths of Our heart, Our Paternal Apostolic Blessing.