Pope Leo delighted Catholic cinephiles this week by revealing his four favorite films, in anticipation of his upcoming meeting with members of the “World of Cinema” at the Vatican on Nov. 15. His selection includes “It’s a Wonderful Life,” “The Sound of Music,” “Ordinary People” and “Life is Beautiful.” As longtime contributors to Catholic movie discourse, America writers have chimed in with their thoughts on all these films over the years. Here’s what they had to say. 

“It’s a Wonderful Life” (1946) by Frank Capra

John A. Coleman, S.J., who wrote about this Christmas classic for America in 2012, argued that the film’s message about the triumph of joy over despair can be a reminder for Catholics of God’s goodness, especially at Christmastime. He pointed to director Frank Capra’s motivation for the film, which was to speak to the people on the margins of society about the intrinsic value of their lives: 

Despite any deferred dreams or dashed hopes in our life, this Christmas we might do well, like George Bailey in the movie and play, to count our friends and blessings and turn to those winos, downtrodden, paupers, homeless, older spinsters, weary, prostitutes, those in prison, the disheartened and disillusioned for whom Capra said he directed the movie. After all, at least for the Christian understanding of Christmas, it was to such that the word was made flesh and entered this disheveled and imperfect world and dwelt among us. The angels said that his coming was “good news.” Putting ourselves in that same locale as Jesus came to, we too might look at our imperfect, often flawed lives and yet still be able to proclaim: Despite it all and even in it all, it’s a wonderful life!

“The Sound of Music” (1965) by Robert Wise

Longtime America contributor Moira Walsh reviewed “The Sound of Music” in March 1965, shortly after the film was originally released. Walsh had some reservations about the film, criticizing “the presence of silly, stereotyped nuns and the absence of any real religious feeling.” However, she did predict its popularity, and admitted that she found it preferable to other movies in the musical genre: 

[I]n common with the better run of contemporary musicals, it strikes me as having a good deal more charm and validity and lack of mawkishness than could be found in the musicals of the pre-Oklahoma era…. The Sound of Music may not be my kind of film, but, given the realities of present-day moviegoing habits, it is infinitely superior to most of the available products. 

“Ordinary People” (1980) by Robert Redford 

Former America managing editor and executive editor Richard A. Blake, S.J., first reviewed “Ordinary People,” a film about a young man navigating his relationship with his family after an attempted suicide, in 1980. He discussed how the film demonstrated the “strategy of retreat” as a response to “a pain too sharp to endure or an emptiness too terrifying to admit.” 

In the wake of Robert Redford’s recent passing, America’s poetry editor Joe Hoover, S.J., reflected on his appreciation for the film, calling it “just so hard, so painful and devastating and truthful.” Br. Hoover also joined James Martin, S.J., on Jesuitical to discuss how God is present in the film:  

Brother Hoover: “God is in the silences. It’s unspoken. And the power is in what isn’t spoken. [P]eople trying to work out their lives, people trying to reconcile, people trying to deal with grief. We believe God is behind all that.” 

Father Martin: “It’s also…about yearning too. Everyone yearns for this reconciliation. The mother tries her best to be kind to the son…. The son is trying his best to, you know, reconcile with the parents and yearns for that. And the father yearns for really both of them to come together. So it is this movie kind of about desire too. And they’re all holy, those are holy desires…for reconciliation.” 

“Life is Beautiful” (1997) by Roberto Benigni 

Father Blake also wrote America’s review of “Life is Beautiful” in 1999. He focused his attention on the film’s poignant exploration of the coexistence of great beauty and great tragedy, as is demonstrated through the relationship between protagonist Guido Orefice and his son Giosué. In the face of great evil, he argued Giosué’s innocence represents the persevering presence of goodness and hope, which he saw as key to the film’s success:  

Benigni the actor creates a Guido who understands the horror but looks upon his son as the only source of joy left for him in this universe of death. Since we know that he may soon lose even that, we perceive his character as hovering over the abyss of tragedy. Giosué, for his part, offers an alternative point of view, a salutary lightness of vision. He remains largely unaware of the danger, and his innocence keeps the story from becoming sentimental or morbid. Seen through the eyes of a loving child, Guido’s antics amuse us as they do him. 

—

For those who have seen these films (or read about them in America), Pope Leo’s appreciation for them comes as no surprise: Their themes of love, faith, reconciliation and hope have inspired conversation and uplifted audiences for decades. With Pope Leo’s endorsement, they will undoubtedly continue to do so. 

Brigid McCabe is an O'Hare Fellow at America Media.