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Corpus Christi Watershed

Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Movie Review: The Monuments Men

Fr. David Friel · February 16, 2014

OW SHOWING on the silver screen, George Clooney’s latest film, The Monuments Men, presents a story that would interest art enthusiasts. It loosely recounts the story of the Monuments, Fine Arts, and Archives (MFAA) program enacted by FDR and supported by the Allied forces. The so-called “Monuments Men” were a collection of curators and art historians who were tasked with preserving notable buildings and recovering stolen art during World War II and after its conclusion.

The film has received mostly unfavorable reviews. This is understandable, considering several major cinematic shortfalls. The story involves seven leading characters, none of whom are well developed. While portrayed by a cadre of noteworthy actors, the script leaves character development very thin. It is difficult to discern, moreover, whether the desired tone for the movie is serious or comedic, dramatic or action-oriented. Although the basic plot is based on history, there are also many points of departure from the real-life MFAA. The movie gives the appearance, at times, of being a collection of unrelated vignettes, rather than a cohesive story.

The Monuments Men nevertheless remains an interesting film to me, as a lover of art. It concerns a facet of WWII history that receives little attention, and it conveys a refreshingly reverential attitude toward the great art of the Western world. Throughout, the viewer senses that the Monuments Men feel empowered by the nobility of their task. Safeguarding the treasures of European art is portrayed as a mission at once practical and heroic.

We have discussed the enduring quality of art on these pages before, in another review. To see these themes incorporated into a wide-release motion picture from a leading actor & director, though, is most encouraging. It would be hard to imagine this picture not having a positive effect on the wider population’s respect for art’s special value.

Several scenes raise difficult questions regarding the value of a piece of “priceless” art. Is any piece of art more valuable than a human life? To that, we must answer no. Having said that, though, under the principle of double effect, there could still be situations in which risking one’s life for the sake of preserving a great work of art could be justifiable. Issues of proportionality and collateral damage are obliquely drawn in to the narrative, and some of the situations these men encounter really cause one to think. The plot, scattered though it may be, strongly conveys a sense of the corporate responsibility we all share for preserving art and handing it on to future generations; it seems to assume that all humanity shares in the ownership of our race’s greatest handiwork, on the basis that art is a foundational requisite for true culture.

In my opinion, the story is worth telling, and the real-life characters present opportunities that may have been better suited to a mini-series than a single-release film. It would have been entertaining to see such a strong cast bring texture and shape and life to these unsatisfying, flat character sketches. I recommend this film for artists and art lovers, less for its cinematic merits than for its thematic content and the piquant questions it raises.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Beauty, Traditional Catholic Artwork, Traditional Catholic Paintings Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    This Sunday’s Communion Antiphon
    This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.
    —Jeff Ostrowski
    Using “Ye” Vs. “You” Correctly
    Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.
    —Jeff Ostrowski
    “Pope Leo XIV Has Announced…”
    My pastor asked me to write brief articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The most recent article speaks about the recent announcement by Pope Leo XIV, which does have an impact on church musicians. Scheduled for publication on 2025 08 10th, it’s called: “Pope Leo XIV Has Announced…”
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“It is difficult to imagine a more unjust situation than abortion, and it is very difficult to speak of obsession in a matter such as this, where we are dealing with a fundamental imperative of every good conscience—the defense of the right to life of an innocent and defenseless human being.”

— Pope St. John Paul II

Recent Posts

  • This Sunday’s Communion Antiphon
  • Using “Ye” Vs. “You” Correctly
  • Installment #3 • “Serious Problems with the Lectionary Translation”
  • “Pope Leo XIV Has Announced…”
  • “Chants” • 18th Sunday in Ordinary Time

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