Whilst it’s fair to say that not every respective project of director Abel Ferrera and actor Shia LaBeouf is successful in their individual execution, you can’t deny the absolute dedication they both have regarding their craft. Ferrara, whose varied career has seen him helm such divisive works as King of New York, Harvey Keitel’s lauded Bad Lieutenant and Dangerous Game, a drama which star Madonna infamously trashed ahead of its release, only to ironically earn positive reception as an actress, has never been one to shy away from difficult material, whilst LaBeouf – certainly in his latter years as he transitioned from blockbuster poster boy to polarising character actor – has oft committed himself to the psyche of his characters in a manner that extends beyond mere surface-level methodism; the word is that for his role under Ferrera he dove so deeply that he converted to Catholicism as a result.
True story or not, it’s fascinating, but, unfortunately, off-set intrigue and the bold temperaments of its actor and director don’t lend themselves to Padre Pio as a whole. There’s an undeniable compelling nature to its story, and several sequences throughout are sure to stir interested cinephiles, but there’s a lacking in the cohesion of the story here that doesn’t quite allow the film to earn the impact it clearly is aiming for.
When the film begins it centres on the bittersweet nature of soldiers returning home after World War 1. Ferrera captures the overwhelming joy and tragic sadness of families – some broken, others reunited – as they come to grips with the fates of their loved ones. A heartbreaking image of one soldier exclaiming “I am still a man” to his wife as she notes his legless body sets this newfound reality for many, and this initial dynamic as the film’s backbone suggests a more dramatic incline than what Padre Pio ultimately commits to.
And you’d be correct in assuming that focus aligns to the character of Padre Pio himself – and with LaBeouf in the titular role, it’s a rightful assumption, though, strangely, inaccurate. Padre Pio – an Italian priest, saint and mystic who lived from 1887 to 1968 – ultimately feels as if he’s a supporting player in his own movie. The plot’s scattered nature does a disservice to the character (and LaBeouf’s committed performance), and Padre Pio’s own calling as a stigmatist – meaning he spontaneously suffered the wounds of Christ’s crucifixion – isn’t given the detail that would have been preferred.
Whilst Pio is dealing with his own faith and struggling to provide his parishioners with the guidance they seek, Ferrera’s film never allows this to be the set focus, instead dancing around this inherently interesting battle of judgement with the Italian town’s struggle of political power. Both stories provide enticing narrative opportunities, but they constantly feel at battle with one another. Padre Pio is a film of two separate natures, and whilst they both function, they never assemble peacefully.
LaBeouf, who opted to forego an Italian accent (believing it would make his performance more honest), clearly cares about the material, and the surrealism of many sequences means the film is never lost on its technical impression – even if you don’t understand what’s taking place – but in trying to hone so many different personalities within its storytelling, Padre Pio, as a biopic, a rumination on faith, or a political drama, can’t help but feel as if results in not being anything at all. There’s something of worth and fascination here, sadly just not in its current form.
TWO AND A HALF STARS (OUT OF FIVE)
Padre Pio is screening in American theatres from June 2nd, 2023. An Australian release date is yet to be determined.
