天路历程

最为好奇的是传教士来到语言不通，信仰不同，生活方式不同的陌生国度是如何打开局面的。原来是用西医治好了一个乡绅的儿子，乡绅赠与传教士一片土地，就这样建起了教堂。然后收养了弃儿，又感化了善男信女。收养了弃儿多了，又开了学校，从英国派来了修女。这样一步一步打开了局面。 伴随传教士而来的，不仅是宗教，还有文明，科学，还有启蒙。我觉得这对贫穷落后的近代中国不是坏事。

老神父对年轻神父说：你很清楚思考和质疑间的区别，你对自己的事业怀有热情，这使得工作不会枯燥。——正是因为这个原因， 弗朗索瓦奇所姆来中国传教才会坚持下去。 “能帮一点是一点”，这个观点，让坐以待毙的军官有了使命感。 “我感谢你没有强迫我上天堂。”这是弗朗索瓦奇所姆不信教的医生朋友临死前说的话。 结尾的时候，竟然看到修女在织围巾，她们是有生活的内容的。

Title: The Keys of the KingdomYear: 1944Genre: Drama, WarCountry: USALanguage: English, CantoneseDirector: John M. StahlScreenwriters: Joseph L. Mankiewicz, Nunnally Johnsonbased on the novel by A.J. CroninComposer: Alfred NewmanCinematographer: Arthur C. MillerEditor: James B. ClarkCast:Gregory PeckRose StradnerBenson FongThomas MitchelLeonard StronglEdmund GwennVincent PriceRuth FordSara AllgoodCedric HardwickeJames GleasonAnne RevereArthur ShieldsRichard LooRuth NelsonDennis HoeyEdith BarrettRoddy McDowallPeggy Ann GarnerJane BallPhilip AhnRating: 7.6/10

Title: The Ghost and Mrs. MuirYear: 1947Genre: Comedy, Fantasy Country: USALanguage: EnglishDirector: Joseph L. MankiewiczScreenwriter: Philip Dunnebased on the novel by R.A. DickComposer: Bernard HerrmannCinematographer: Charles LangEditor: Dorthy SpencerCast:Gene TierneyRex HarrisonGeorge SandersEdna BestVanessa BrownAnna LeeRobert CooteNatalie WoodIsobel ElsomVictoria HorneWhitford KaneWilliam StellingRating: 7.5/10

Dancing between the hallowed halls of faith and the ethereal embrace of the beyond, all within the confines of a 1940s celluloid dream, these two films, both orchestrated by Joseph L. Mankiewicz, one as the producer and co-scribe, and the other as the helmer, are seemingly disparate as a sermon and a séance, yet upon closer inspection, reveal an unexpected kinship. So, pull up a velvet armchair, perhaps with a stiff gin and tonic (or a cup of lukewarm tea, depending on your preferred '40s beverage), and let us embark on a whimsical, somewhat irreverent journey into their shared, albeit shadowy, heart, now with a sharper eye for the cultural landscapes they construct. One might initially scoff at the notion of lumping a stoic missionary’s life alongside a spectral love affair. Stahl's THE KEYS OF THE KINGDOM presents Peck as Father Francis Chisholm, a man whose spiritual compass points steadfastly towards a higher calling, even when the path is littered with the ungodly detritus of human foibles and frailties. He’s a missionary, but not the stained-glass-window kind, Father Francis is more the mud-on-his-boots, hands-dirty-with-real-life type. His journey, from the damp, judgmental confines of Scottish parishes to the sprawling, war-ridden landscapes of China, is less a heroic epic and more a testament to inner, persistent empathy. This is a film that asks, rather profoundly, what it truly means to serve, and in fact, the purest faith isn't found in the grand gestures, but in the humble, often thankless, acts of compassion. Peck, with that impossibly noble jawline and eyes that could hold a universe of unspoken suffering, imbues Chisholm with a gravitas that manages to be both saintly and utterly human. He wrestles with doubt, with the austerities of his church, and with the cosmic, unyielding agony of the mankind. It’s a long film, undoubtedly, a slow burn of a spiritual odyssey, but one that rewards patience with a quiet, lingering resonance. Among the secondary characters, Stradner (Ms. Mankiewicz, in her celluloid screen swan song) brings to life the formidable figure of Reverend Mother Maria-Veronicar, who initially appears to be carved from the very granite of Catholic dogma, only to reveal, slowly, a surprising vein of humanity after she is illuminated and deeply touched by Chisholm's devotion and understands that true faith isn't always found in rigid adherence to rules, but in the compassionate heart that defies them for the greater good. She becomes, in essence, a convert herself - not to a new faith, but to a more expansive, empathetic understanding of her own. Stradner's performance beautifully conveys this thawing, allowing us to see the woman beneath the habit gradually recognizing the saint in the unconventional priest. However, to appraise THE KEYS OF THE KINGDOM without addressing its deeply ingrained Orientalism would be a fatal remiss, akin to admiring a grand painting while ignoring the glaring cracks in its canvas. While the film strives for a message of universal compassion, its portrayal of the Middle Kingdom and its people is irrefutably filtered through a colonial, "white savior" lens, a common affliction of Hollywood epics of the era. The Chinese characters, though presented with a degree of sympathy, are largely passive backdrops for Chisholm’s spiritual journey, often depicted as an inferior, faceless mass in need of Western intervention. Their rich culture, complex societal structures, and individual agency are frequently flattened into stereotypes or symbols of a "primitive" world awaiting enlightenment. The narrative positions the West as the bringer of civilization and salvation, and while Chisholm’s approach is notably more humble than some of his peers, the film rarely deviates from this power dynamic. The "suffering landscapes of China," while real in a historical context, are often framed as a stage for the white protagonist's heroism, rather than a vibrant culture with its own inherent strengths and struggles. This is an ungainly elephant in the room for almost all the exoticized Hollywood fares of that time, and Stahl's film, for all its good intentions, is far from immune. Then we have Mankiewicz's THE GHOST AND MRS. MUIR, a film that dares to ask what happens when one seeks solace not in the divine, but in the defiantly undead. Tierney’s Lucy Muir, a widow of admirable spunk, eschews the suffocating propriety of Victorian England for a seaside cottage that comes with an unexpected, spectral roommate: Captain Daniel Gregg, played with a magnificent, growling charm by Harrison. Now, a conventional film would have spun this into a horror tale, or perhaps a farce. But Mankiewicz, bless his audacious soul, decided, "No, let’s make it a romance." A romance, mind you, where the paramours can’t touch, where communication is a matter of booming spectral pronouncements and exasperated mortal retorts. It’s a love story that defies the very fabric of existence, a testament to connection that transcends the corporeal. Tierney, with her exquisite, almost ethereal beauty, brings a delightful blend of virtues and steel to Lucy, making her a character utterly deserving of a ghostly admirer who, despite his bluster, possesses an achingly tender heart. So, where do these two seemingly disparate cinematic ships converge? It is inn the vast, often turbulent ocean of human longing, and interestingly, in their very different engagements with "otherness." Both Father Chisholm and Mrs. Muir are, at their core, seekers of profound connection and purpose in worlds that often seem indifferent or actively hostile to their desires. Chisholm seeks a genuine connection between God and his fellow man who is driven by "a true belief", often finding the institutional church a hindrance rather than a help. His faith is tested not by theological conundrums, but by the raw, visceral realities of disease and war. He yearns for a clarity of purpose that is constantly muddied by the debit side of humanity: hubris, vanity and priggishness, to just name a few. His "otherness" is the foreign land and its indigenous people, but as noted, presented through a lens that simplifies and disrespects their complexity. Similarly, Lucy Muir seeks connection, but one on her own terms, free from the societal strictures that would bind her. She tries it with Miles Fairley (Sanders), a seemingly eligible suitor, Sanders is exactly what a cad should be – irresistible on the surface, utterly disappointing underneath, and played with such sophisticated charm that his reveal feels like a subtle, yet deeply satisfying, betrayal. Ultimately, she finds it, ironically, in a relationship that is fundamentally unconventional, one that exists in the paranormal. Her connection with Captain Gregg is forged in shared solitude, in the amusing friction of their personalities, and in a mutual understanding that transcends the tangible. Her "otherness" is the supernatural, the spectral, and it is handled with a remarkable lack of condescension. She treats the ghost as a fully formed personality, not as a curiosity to be explained or "civilized," which presents a fascinating contrast to the Orientalist gaze in THE KEYS OF THE KINGDOM. Both protagonists, in their own ways, are outsiders, charting courses that deviate from the expected, guided by an internal compass that points towards a truer, deeper sense of belonging. Furthermore, consider the underlying themes of sacrifice and unconventional love. Chisholm sacrifices worldly comforts, personal desires, and even his health for his calling, for a love of humanity guided by his faith. His love is an expansive, almost abstract force, whereas Lucy and the Captain portray a more intimate, albeit tragically limited, form of love. Theirs is a love of shared moments, of witty banter, of unspoken understanding, and ultimately, of a tacit letting go. The sacrifice in THE GHOST AND MRS. MUIR is a different kind – the sacrifice of physical intimacy, of a socially acceptable relationship, for a connection that exists purely on a spiritual and emotional plane. Both films, in their own ways, champion the idea that love, whether divine or spectral, often demands a relinquishing of the ordinary. Stylistically, they are also intriguing foils. THE KEYS OF THE KINGDOM is grander in scope, sweeping across continents, its cinematography often emphasizing the vastness of the world and the smallness of man within it, rendering the "exotic" locales with a blend of awe and distant observation, rather than immersive understanding. It has a stately, almost reverential pace. THE GHOST AND MRS. MUIR conversely, is more intimate and atmospheric, set largely within the confines of the cottage and the misty coastline. Its beauty lies in its sedate moments, the subtle shifts in emotion. Yet, both films possess a certain elegance, a classic Hollywood sheen that elevates their respective narratives. In the end, while one film delves into the arduous journey of earthly faith and the other into the whimsical embrace of the afterlife, both stand as fascinating testaments to the human spirit’s capacity for connection, for sacrifice, and for finding purpose in the most unexpected of places. They remind us that the greatest loves often defy easy categorization and demand a leap of faith, a willingness to look beyond the tangible, and an open heart ready for whatever extraordinary companionship life (or death) decides to send our way. Both films, in their own unique ways, unlock cinematic kingdoms all their own. referential entries: Stahl's LEAVE HER TO HEAVEN (1945, 7.7/10), IMITATION OF LIFE (1934, 7.3/10); Henry King's THE SONG OF BERNADETTE (1943, 8.0/10); Mankiewicz's THE BAREFOOT CONTESSA (1954, 6.9/10); David Lean's BLITHE SPIRIT (1945, 7.3/10).