THE SINGER, NOT THE SONG

UK, 1960, 132 minutes, Colour.
John Mills, Dirk Bogarde, Mylene Demongeot, John Bentley, Laurence Naismith.
Directed by Roy Baker

The Singer Not The Song is a melodramatic story, set in Mexico, from a novel by Audrey Erskine-Lindop? and adapted for the screen by novelist Nigel Balchin. Opinion was divided on the film’s release – and this divided opinion continues.

Many people enjoy the film and take it seriously. Others thing that it is highly camp.

The film focuses on John Mills as a priest in Mexico, working in a parish. He confronts the local bandit, played by Dirk Bogarde in black leather. A young woman in the parish also gets a crush on the parish priest (played by Mylene Demongeot). The priest has to face the reality of his ministry as well as clerical celibacy. He also has to face the confrontation with the local boss and is interested, of course, in saving his soul.

The film is somewhat exotic in its presentation of the characters – especially British hero and villain in a Mexican town.

The film was released at the time that the Second Vatican Council was in preparation – and, while there were some stories about priests and their sexual difficulties, this was something of a taboo on the screen. Half a century and more later, audiences might find this difficult to understand.

The film was directed by Roy Ward Baker who had directed John Mills in The October Man and Morning Departure. He had a brief stint in Hollywood with Don’t Bother to Knock and Inferno but returned to England with such good films as The One That Got Away and A Night to Remember. In the 60s he directed television and in the 70s a number of horror films.

1. The significance and tone of the title? The indication of theme, its explanation and verification in the film?

2. The importance of colour, widescreen, length of the film, Mexican settings, the British stars?

3. How successful was the film as melodrama, as romance, as a religious film? The successful blending of all three elements?

4. How well did the film create the Mexican atmosphere? The arrival of Father Keogh, the colourful nature of the town, the people, the squalor, religious atmosphere and lack of it? Could these events have taken place elsewhere in such a way? The passionate nature of the Mexicans? The Irish missionary among them?

5. How well-drawn was the character of Anacleto? His youth, his role as the boss of the town, the significance of his black clothes, his role as a leader, his fascination with power? His hold over the other priests? The clash with Keogh? His liking of Keogh? The cruelty of the murders? The conflict of motivations? His killing of Old Uncle to save Keogh? His friendship with Locha? His saving her from the marriage? The significance of the ending and his hold over Father Keogh? His reaction against the sermon? The significance of his death? The signs of his repentance? Yet for 'The Singer, Not The Song'? The nature of his friendship for Father Keogh? The inevitability of its fatal ending?

6. The contrast of Father Keogh: an earnest priest, entering into a town and trying to influence it, the possibility of destruction? His horror at the violence? His encounter with Locha and infatuation with her? His understanding of celibacy and his obligations? His reaction to the people? His refusal to be subjected to Anacleto? Yet his desire to convert him? His taking of stances, the sermon when Locha was saved? The reason for his intervening in the gunfight? The impact of his death? His consolation with Anacleto's repentance? The symbolism of their crossed bodies in death?

7. The role of Locha in the film? Dramatically and emotionally? Tomboy, her home in the town, her fascination with Anacleto, her growing love for Father Keogh, the nature of her marriage and her jilting the bridegroom? The nature of her sacrifice and her acceptance of this? An interesting and convincing character?

8. The film's explorations of power, cruelty, life and death, love and friendship?

9. The picture of the church and its traditions, the role of the priest, celibacy and its obligations, its suffering and its availability for others?

10. The sense of realism in the plot and in the characters? Or was there more symbolism? Was this a religious film in its exploration of religious values?