Help for the Dead

 

“Help for the Dead”

A Review of Purgatory by Nick Olszyk

 

Distribution Service: Limited Theatrical – Fathom Events

Year: 2021

MPAA Rating, Not rated at the time of this review

USCCB Rating, Not rated at the time of this review

Reel Rating, Three Reels            

 

            Polish director Michael Kondrat has been hard at work producing a series of excellent Catholic docu-dramas of the past two years including Love and Mercy: Faustina and Two Crowns. Now, he has created the first film not about a saint but a commonly misunderstood doctrine: purgatory. The film employs the writings and experiences of many saints combined with contemporary theologians to paint a picture not just of what purgatory may look like us, but, most importantly, how the living are perceived by our beloved departed. It’s a timely program for a modern world that constantly denies death but must remember every man’s inevitable fate.

            While not a biography, the film centers around the life of Polish mystic Fulla Horak. In early adulthood, she was a hardened atheist and boldly challenges a Christian friend’s foolish faith at a party in the 1920s. Her friend is unfazed, and Horak discovers that – unlike her - she has no responses to her rebuttals. A decade later, Horak is not only Catholic, but God allows her to see the souls in Purgatory; she compiles these visions into a book entitled Afterlife. The film uses this book and other mystics like Padre Pio as the springboard from which to discuss the concept. It must be admitted that, as of this writing, I could find virtually no outside information (in English) about. I have no knowledge of the canonical status of the visions or the overall holiness of her life. However, the theological information given in the film is entirely orthodox.

            Purgatory is a place of hope but great suffering. There is hope because Heaven is so near yet suffering as the soul has not yet fully detached himself from sin and the world. Thus, the dead need our prayers and attention. Again and again, Horak has visions of souls begging her to pray for them and mourning how their own family has forgotten them. Prayer for the dead is a vital spiritual work of mercy just as important as feeding the hungry. It is a sobering fact that there are more dead people than living ones, nearly all of whom need our prayer at some point. The gates of Heaven are not iron but pearly, and we must keep our relationship with the Church Suffering just as fresh as with the Church Militant.

            As a piece of film, Purgatory is not nearly as compelling as Love and Mercy, mostly due to the lack of a central narrative. It was also disappointing that Kondrat does not explore the Biblical roots of Purgatory. However, there was plenty of keen insights and dozens of interesting accounts. I was especially interested in the “purgatory relic” phenomena, which I previously did not know existed. Apparently, souls in purgatory will leave physical impressions on objects to make their presence known. There is even a gallery of these objects in the Vatican Museum, including a clear handprint on a sacred text left during prayer.

            Kondrat is a fine filmmaker who, it must be acknowledged, still has some growing to do as an artist. However, every film he creates is a powerful work of evangelization, and I eagerly await his annual entry. While these films may not be great entertainment for a Saturday, they are essential viewing for classrooms. I hope for many more.

This article first appeared in Catholic World Report on October 24th, 2021.