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Michal Kondrat / Duration=1Hour, 47Minutes / average Rating=6,1 / 10 / Countries=Poland / Michal Kondrat / Milosc i milosierdzie film. The first blow for those coming to this movie uninitiated is that it resembles a Polish predecessor "Pilecki" of 2015 in telling a Polish national hero's story by way of docu-drama. Thus anyone settling down to watch "a movie" and just getting into "the plot" will find it an almost fatal blow in the face to suddenly - without warning - be dragged back to real-life "talking heads.
For someone not expecting it, that looks like an extremely disorientating lack of artistry.
Given that the material here is obviously not without its interest or value, the inevitable subsequent question is - would we prefer this film to be entirely documentary or entirely (of course true-to-life) drama? My traditional answer would be definitely the latter, but I know my motivations for this are flawed (and not far removed from the sinful) given that they revolve around the enigmatic and unique good looks of Kamila Kaminska in the starring role as Sister Faustyna. She is rather spellbinding by any measure. but this does not create entirely the right mood for picking up the message here - all the more so as Maciej Malys as Father Sopocko is a good-looking chap too, allowing us to begin to see this as a kind of love story between the two. It is not inconceivable that IN SOME WAY such feelings were indeed present in real life, but that energy was channelled into the cause both devotees served, and anyway the actors should NOT have been chosen in this way. Certainly, the real Sister Faustyna was not an ugly woman by any means - and she did have that certain nun's radiance about her; but did NOT look like she was portrayed here.
For all but the most-devout viewer, a further problem here will be the twists and turns of the "mission" Faustyna receives and serves. A wonderful part of the story is that the dimensions of the face of Christ on the painting she finally extracts from artist Eugeniusz Kazimierowski (in the film's best, most convicing, funniest and most-emotional scenes also featuring an effective Janusz Chabior) apparently match those of the face on the Shroud of Turin, suggesting in some nearly-inconceivable way that Faustyna guided the artist to paint the real face of the deity she was seeing. This is obviously a highlight and strong backbone of the story, but diluted by the fact that there are actually two or more versions of the likeness, as Kazimirowski's from 1934 - what any normal or rational person would call "the real one. is in Vilnius and is LESS-KNOWN (if in IMHO far more subtle and beautiful and artistic) than Adolf Hyla's from 1943 which provides a foacl point for the cult at Kraków-Lagiewniki in Poland (as opposed to Lithuania. For a normal, rational viewer, that part of the story is going to look a bit eccentric and inconsistent, to say the least.
To add to that is the way (the film tells us) that Faustyna destroyed her first diary accounts of her regular meetings with Christ - having been instructed to do so by whoever it was she was meeting (other versions tell us it was the forces of evil disguised as an angel) and was then asked by a shocked and disappointed Father Sopocko to reconstruct some of them from memory.
The fact that Faustyna became ill and close to death and then died might be taken as support for the main thesis (so many saints had to suffer as we know from history) or could equally look like the surprisingly mean way that true believers so often seem to be treated. Sorry for this, but I'm only a mere mortal, and even an acknowledgment that "suffering is good for the soul" does not fully allow me to avoid the conclusion that it was a tough time Faustyna had to go through.
Long back into history we know that the stories of saints rarely run smoothly, hence the need for faith. But the viewer of this presentation of the story is not going to find it entirely easy to stay the course without a moment or two of doubt about just what is going on.
Since the tale revolves around events between Poland, the USSR and Nazi Germany, there are extra twists and turns so typical of stories that concern Poles; and these are obviously fascinating for those from countries lucky enough to have fared rather better.
It is also fascinating to see - presented quite clearly and fairly in the movie - the Church's original lack of conviction on this whole issue, and it's return to this in 1959, when an actual ban on the cult was instigated (this now being attributed to problems with rewrites and mistranslations of Faustyna's original diaries.
While the painting is very much present in this movie, the diaries seem somehow to take second place. That is at least an artistic decision/choice made by the makers of the film; but it is surely hard to say if that is the right one. br> Equally, inevitably and ultimately, there can be no doubting the sincerity and importance of the concept of mercy, as strongly emphasised by Faustyna and picked up by her fellow Pole, Pope John Paul II aka Karol Wojtyla. And so the following that developed on this basis is definitely of worth. But for typical watchers who have some struggle with their faith, the mix of presentation styles here will seem to enmesh with a story a bit too convoluted to allow for easy acceptance of any message other than the rote "God moves in mysterious ways. which may or may not feel like enough...

Milosc i milosierdzie film cda. This is the most boring thing I've ever seen, let alone it was a docudrama. They didn't have subtitles for translators, and everyone spoke in a thick Polish accent, which made it hard to understand. The topic of the documentary was questionable. it went from the life of Faustina to a painting she made to how it was restored and kept alive, all in a really random way if you ask me. The idea was good, but what it came out to be was boring and lengthy.

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