Like many, I approached The Song of Bernadette (1943) with a healthy dose of skepticism. Preconceptions of a saccharine, overly sentimental Hollywood take on spirituality lingered, making me hesitant to even introduce it to my family. However, any such fears were quickly dispelled. While undeniably a film crafted in the 1940s, The Song of Bernadette transcends its era. Far from feeling dated, it proved to be a captivating and surprisingly profound cinematic experience, one that resonated deeply and sparked thoughtful conversations, even if its runtime tested the patience of some of the younger viewers.
Initially, certain elements might seem to reinforce those prior hesitations. Jennifer Jones’ Bernadette, a mere fourteen years old, undeniably possesses a starlet’s glow, a far cry from the image of an asthmatic peasant girl. Similarly, the depiction of Mary leans towards the ethereal, a luminous statue brought to life. Yet, these aspects become secondary to the film’s core strengths: a compelling narrative, masterful pacing, and genuinely engaging dialogue and characters. Unexpectedly, the film incorporates moments of subtle yet effective humor, alongside stunning visuals characterized by exquisite framing and a nuanced interplay of light and shadow. Crucially, The Song of Bernadette doesn’t shy away from the unsettling and even disturbing aspects inherent in a story centered around a religious apparition, embracing a necessary sense of mystery and awe.
Beyond Hollywood Hokum: Why ‘Song of Bernadette’ Resonates Today
The film’s brilliance lies in its deliberate choices regarding the portrayal of the Virgin Mary. Instead of lingering on detailed depictions of the apparition, the camera wisely focuses on Bernadette’s reactions. Jennifer Jones’ luminous face, filled with an almost palpable delight as she listens to Mary, becomes the focal point. While Jones’ initially striking smile might seem unusual, it quickly becomes integral to Bernadette’s character – a representation of her radical simplicity and disarming lack of self-consciousness. Her breathy, innocent voice, though occasionally bordering on repetitive, ultimately serves to emphasize her character’s guileless nature. However, the narrative strength of The Song of Bernadette extends far beyond a single performance.
This is where we begin to understand the enduring appeal of Bernadette, particularly when contrasted with films like Fatima (2020). Fatima, despite its conscious effort to avoid stereotypical religious sentimentality, ironically ends up feeling more dated and, dare I say, overtly propagandistic. It’s clear the filmmakers behind Fatima were intimately familiar with Song of Bernadette, yet Fatima often feels less like a standalone story and more like a veiled attempt at evangelization. Its attempts to inject ambiguity ultimately undermine its narrative integrity. Bernadette, in stark contrast, stands as a powerfully told story in its own right, confident enough to let the events unfold and speak for themselves.
Storytelling vs. Evangelization: The ‘Bernadette’ Difference Compared to ‘Fatima’
The Song of Bernadette adopts a straightforward, albeit somewhat fictionalized, biographical approach. It efficiently establishes the socio-economic context of the impoverished Soubirous family, the atmosphere of their town, and their complex relationship with the Church, before swiftly moving to the pivotal day of the first apparition. The narrative maintains a brisk pace, depicting the resistance and skepticism Bernadette encounters as her visions continue. However, the true emotional stakes for the characters don’t fully crystallize until the profoundly unsettling scene where, instructed by the Lady, Bernadette gets on her hands and knees in the mud.
Mud, Water, and Revelation: The Miracle at the Heart of ‘Bernadette’
As the onlookers react with disgust and disbelief, Bernadette scrabbles in the dirt, consuming mud and smearing it on her face. The expressions of her aunt and mother – particularly her mother – are deeply resonant, instantly recognizable to any parent navigating the complexities of raising a child who is inherently good and loved, yet undeniably challenging and different. The shame and dismay radiating from her family are palpable as they lead her away, convinced she has gone too far, her actions indefensible. Yet, after the crowds disperse, disillusioned and mocking, the spring begins to flow. Slowly, individuals realize the profound significance of this event. The miracle is not presented as a spectacle, but as an integrated and organic development within a carefully constructed narrative, finally hitting home that something truly extraordinary has occurred.
This crucial, transformative moment is conspicuously absent in Fatima, even amidst the dramatic, albeit somewhat contrived, “sun miracle.” In Bernadette, the miracle emerges from the narrative itself, a natural consequence of the unfolding events, precisely because the story is so solidly and meticulously crafted. Conversely, Fatima utilizes miracles as dramatic plot devices, deployed triumphantly to overshadow any narrative shortcomings. Paradoxically, Fatima‘s attempts to introduce doubt and skepticism feel forced and ultimately undermine the miraculous elements they are meant to emphasize. The structural integrity simply isn’t there, leading to a disjointed and less impactful viewing experience.
Nuance and Doubt: Exploring Skepticism in ‘The Song of Bernadette’
The divergent approaches to portraying doubt highlight the fundamental difference between the two films. Fatima borrows heavily from Song of Bernadette, including the scenes where secular authorities grapple with the “problem” of a visionary in their town. However, in Fatima, the dialogue feels simplistic and didactic, essentially boiling down to: “I’m a man of politics, and therefore skeptical of religion! But maybe… just maybe… there’s something to this faith thing after all? Who knows!?”
Song of Bernadette offers a far more nuanced and engaging exploration of the motivations and machinations of those in positions of power. While not high art, these scenes feel organic to the narrative, intrinsically interesting, and avoid the sense of being shoehorned in solely to inject “political tension.” This is largely thanks to Vincent Price’s memorable portrayal of the cynical prosecutor, complete with a perpetually runny nose, but also due to the well-developed supporting characters, each with distinct personalities and motivations, and the genuinely well-written dialogue.
Song of Bernadette also provides ample space for doubt to exist within the narrative itself. The film subtly acknowledges that some healings could be attributed to natural causes, and that some believers might be motivated by less-than-pure intentions. A pivotal plot point revolves around Bernadette’s seemingly impossible revelation that the Lady identified herself as “the Immaculate Conception.” The film cleverly highlights the improbability of an uneducated peasant girl knowing this complex theological concept. Yet, when questioned about prior knowledge of the phrase, Bernadette only states that she doesn’t remember hearing it before, maintaining a crucial ambiguity. Furthermore, Bernadette’s eventual confinement to the convent, while presented as the “right” course of action, is far from a celebratory or unequivocally happy ending. It marks the beginning of Bernadette’s true suffering, both physical and spiritual, and the gradual erosion of her perceived “untouchable innocence.”
More Than Just a ‘Nice’ Story: The Discomfort and Power of ‘Bernadette’
Ultimately, The Song of Bernadette resists being categorized as merely a “nice” or simplistic story. Despite its Hollywood production, it embraces a sense of unease and discomfort, never shying away from the inherent strangeness of the events it depicts.
Fatima, in contrast, attempts to incorporate conflict and doubt, but these elements feel artificially grafted onto the narrative. After establishing genuine tension, particularly between Lucia and her mother, the film resorts to a saccharine, Hollywood-esque resolution. The sun dances, Lucia is vindicated, and mother and daughter are instantly reconciled. This resolution feels both cheesy and unearned. More problematically, Fatima tries to introduce a superficial intellectual ambiguity, not as an integral part of the story, but through a contrived and underdeveloped conflict between faith and reason. The scenes between the elderly Lucia and her secular interrogator are stilted, lifeless, and ultimately extraneous to the main narrative.
In Song of Bernadette, the primary skeptic isn’t an external disbeliever, but rather a fellow nun consumed by envy and bitterness. Her conversion is not triggered by irrefutable proof, but by witnessing Bernadette’s hidden suffering. While perhaps somewhat melodramatically portrayed (the sister’s candlelit soliloquy before a crucifix), this character provides a compelling foil to Bernadette’s simplicity. Her transformation occurs not through intellectual assent, but through a visceral, heart-level encounter with something profound.
It seems Fatima clumsily attempted to emulate this dynamic with its “Old Lucia/Cynical Researcher” gimmick, but because it remains disconnected from the plot and themes, it only serves to weaken the overall narrative. Instead of genuine ambiguity, the “what if” elements in Fatima feel more like a legal disclaimer, a superficial attempt to preemptively address potential criticisms.
Timelessness and Trust: Why ‘Song of Bernadette’ Endures
Interestingly, both Fatima and Song of Bernadette conclude with text overlays. Fatima ends with a somewhat generic message about faith, while Song of Bernadette ends with a starkly contrasting and surprisingly effective call to action: “BUY WAR BONDS.” This seemingly anachronistic ending, rather than detracting from the film, underscores its inherent solidity and unpretentious nature. There’s no need for elaborate justifications or forced emotional appeals. The Song of Bernadette simply is, a powerful and enduring story.
Adding another layer of intrigue, Song of Bernadette is based on a novel by a Jewish author, and the film was produced by David O. Selznick. The underlying message is clear: trust your source material, and commit to the hard work of bringing it to the screen with integrity. The makers of Bernadette understood this implicitly.
My “ashes rating” for Song of Bernadette is a surprising one-and-a-half out of five. It’s hardly a penitential film, but its depth and emotional resonance far exceed expectations.
If you’re seeking a thought-provoking and surprisingly moving film for reflection, The Song of Bernadette is highly recommended.
Suitable for all ages. Be mindful that the deathbed scene is emotionally intense, and younger viewers might benefit from discussion surrounding the scenes where Bernadette faces harsh treatment.
The Song of Bernadette is available to rent on various platforms, including Amazon Prime.
For further reading, Eve Tushnet offers a fascinating perspective, framing Song of Bernadette as a classic horror film in her article here. I’d love to hear your thoughts after watching!
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