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Cabrini: We Can Serve Our Weakness or Our Purpose
Chronology
After witnessing disease and poverty in the slums of New York City, Italian immigrant Francesca Cabrini embarks on a courageous journey to convince a hostile mayor to provide housing and health care for hundreds of orphaned children. The film was screened by nuns from the Mother Cabrini order, some in their nineties. By the end of the film, many of them were in tears, and several were shouting, “THIS IS Cabrini!” Archbishop Corrigan was not the son of poor, working-class Irish immigrants in New York City. Corrigan was born in New Jersey to Irish immigrants who ran a grocery and liquor store in Newark and were wealthy.
Dare to Be by Andrea Bocelli and Virginia Bocelli
Not Both. Appears on Glenn Beck’s Show: Is ‘Cabrini’ THE BEST Christian Film Since ‘The Passion of the Christ’ (2024). Although I shy away from religious films that have a sacred message to convey, I became an Angel Studios cheerleader because of two films I saw, the box office marvel Sound of Freedom and now the beautiful and engaging biopic Cabrini. They have a richness of production that is reflected not only in the realistic and lush cinematography (thanks to the lensing of Cabrini Gorki Gomez Andreu) but also in the believable characters, like the human trafficking dogs in the first and the canonized Mother Cabrini (Cristiana Dell’Anna) in the second.
Both films share the same director, Alejandro Monteverde
The realism and goodness of the characters make both films unforgettable, because they immerse us directly in the action (in Cabrini 1899 New York) and only subtly sanctify the characters. The elements of first-rate filmmaking are all there in Cabrini: Gene Back’s original score, which captures the spirituality while extolling the humanity, Alisha Silverstein’s perfect period costumes, and Carlos-Lagunas’s equally impressive set design. Above them all is Monteverde and Rod Barr’s lean and effective storytelling, greatly aided by Brian Scofield’s creative editing. As always, the acting makes the difference: in addition to Della Anna’s award-winning interpretation of the small-time «entrepreneur,» David Morse’s Archbishop is commanding and difficult, matching growl to growl of the unyielding Mayor John Lithgow.
The comparison to Christ’s journey is never emphasized, all the better to realize the everyday heroism of our fellow man
Older than them is the impressive Giancarlo Giannini as Pope Leo XIII, who assigns the New York slums of the future to Cabrini as the ultimate patron saint of immigrants. Mother Cabrini, despite her poor health and being a woman in a paternalistic society, is a perfect example of the feminist that Gloria Steinem could have imagined: kind and ambitious, tough and wise, in love with the children who needed her love. It would be almost impossible not to shed a tear watching her build an orphanage and then hospitals in the spirit of her selfless mission to help the disadvantaged. But that is exactly what this film does, depicting the uncomfortable world of poverty in the early 20th century while encouraging us to applaud the heroism of Cabrini and her soldiers, including a Mary Magdalene-style prostitute, Vittoria (Romana Maggiora Vergano).
Cabrini is, like Oppenheimer today, a true, if “inspired,” biopic with heart and determination
I am impressed once again by the ability of director Monteverde and Angel Studios to create a biography that breathes reality while at the same time transporting us spiritually into the world of authentic characters.
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