The fictional work "The Cardinal" and parallels with Pope Leo XIV

In the last few months we have all heard about Cardinal Robert Prevost, a high church hierarchy of American origin, recently elected pontiff who chose the name Leo XIV. What many people do not know is that before Cardinal Prevost there was a movie, based on a novel, which had as its protagonist a cardinal who was also American. 

In my book History, Culture and Christianity (1870-2020). An account through ten novels and their film adaptations.I dedicate a space to reflect on the relationship between religion, literature and cinema, highlighting some examples where Christianity becomes the narrative axis of modern works. Within this analysis, the novel The Cardinal (1950) by the American Henry Morton Robinson and the subsequent film adaptation directed by the Jewish Otto Preminger in 1963 occupy an important place.

The novel

The novel The Cardinalpublished in 1950, focuses on the life and spiritual trajectory of Stephen Fermoyle, a Catholic priest who progressively rises through the ecclesiastical career to the cardinalate. Robinson, who extensively documented the lives of ecclesiastical figures of his time (according to some authors it seems that he was partially inspired by the life of the Archbishop of New York, Francis Joseph Spellman), presents a story that intertwines personal dilemmas, political tensions and the pastoral mission of the Church in a context marked by wars, totalitarianism and social crises. The work had a great editorial impact because it brought the reading public closer to the interior and exterior life of a priest in dialogue with the problems of the 20th century.

This novel, which the magazine Time chosen as "the most popular book of the year", must be understood within the literary tradition of Catholicism in the Anglo-Saxon sphere, where authors such as Graham Greene or Evelyn Waugh also explored the tension between faith and the modern world. In this case, Robinson opts for a more institutional approach, showing the priest as a public figure facing decisions of enormous historical repercussion. In doing so, the work becomes a testimony of how the Catholic Church sought to maintain its relevance in a convulsive era.

The movie

The film directed by Otto Preminger in 1963, inspired by the novel, takes up much of this content, but presents it in Hollywood's own cinematic language. The film, starring Tom Tryon (Stephen Fermoyle), narrates his priestly training, his personal conflicts and his responsibilities in a world shaken by Nazism, racism and social transformations. Preminger, known for tackling controversial issues, uses the story to raise questions of justice, moral conscience and religious commitment.

The film has a double cultural value. On the one hand, it reflects how the American film industry of the mid-twentieth century could approach Catholic themes with seriousness, showing the priest as a complex protagonist, far from stereotypes. On the other hand, it functions as a window to understand how the Church was perceived in a context marked by the Cold War and the Second Vatican Council, which began precisely at the time of the film's release, with Pope John XXIII and later with Paul VI. 

Parallelisms

The pedagogical dimension of these works is noteworthy. Both the novel and the film give the general public a glimpse of the challenges a priest faces in trying to live his vocation coherently amid external pressures. The protagonist must constantly discern between ecclesial obedience, fidelity to his conscience and social commitment, a theme that connects directly to the reflection on the role of cardinals in the history of the Church. There is a hard moment in the story when the protagonist meets a young, intelligent and beautiful woman (played by Romy Schneider), and considers leaving the priesthood, giving himself a few months of trial in which he teaches English in a Viennese educational institution, when the Nazis were about to control Austria. But he reacts and decides to go ahead with his priestly vocation. Preminger portrays these vicissitudes, in which the clergyman came out of it well.

In conclusion, The Cardinal -both in its literary version and in its film adaptation- is a clear example of how modern culture has represented the ecclesiastical figure as a mediator between faith and the world. By addressing issues of power, morality and spirituality, these works show the relevance of Christianity as a cultural and narrative theme in the twentieth century. In addition, The Cardinal presents some parallels with the life of the current pope: coming from a deeply Catholic American family, of modest social origin, and with European roots; ecclesiastical career started in the United States and culminated in Rome... I do not want to make "spoilers", but it is worth watching Preminger's outstanding film; and for those who like voluminous and remarkable books, you can read Robinson's novel. In this case the film is better than the novel: Preminger's work surpasses it in beauty and pace. And, last but not least, for those interested in understanding these works in their historical context can see my book, in which I discuss nine other great works of film and literature to understand the last 150 years of world history. Almost nothing.