Deep in the heart of a film like Cabrini, with all its saccharine approach to the biographical concept, lies something very strong. A message of hope, a wink at our own actuality, and the fact that no matter who tells the story, history is worth taking a look at. Alejandro Monteverde has made a beautiful film after going through the harrowing and bittersweet journey that was Sound of Freedom, and he has stayed away from the scrutiny of the film. He simply looks back and decides to pay homage to an indispensable subject in the form of a historical journey to understand the value of the past.
Cabrini is the result of a story he came up with alongside Rod Barr, which was materialized in a script by Barr, where they compiled a series of facts about a very important woman. Mother Cabrini is known as the first U.S. citizen to be canonized by the Catholic Church. Her life is an inspiring journey that will make your heart smile with hope and resilience. Making a film about her isn’t precisely a sure win. The religious aspect of the story won’t exactly win over current audiences who are disconnected from the past. But Monteverde is brave enough to provide his vision and delivers a strong drama that feels naive sometimes but ultimately triumphs in its treatment of Cabrini as a woman whose only flaw was feeling too much love for those who needed it the most.
In the late 1800s, Cabrini and other sisters of the Missionary Sisters of the Sacred Heart of Jesus institute traveled to New York City to find that Italian immigrants weren’t exactly well received. The Archbishop isn’t quite helpful, but feeling the pressure of other religious organizations, he accepts to give Cabrini and company some help. This is the beginning of her journey, one that would make her a key figure in providing a safe haven for immigrants, orphans, and other citizens that were considered secondary in this era of New York City.
Sister Cabrini faced just about every threat from a sexist society. Not even the Vatican was able to unconditionally help her. It wasn’t until Cabrini decided to use her leadership to compel politicians and other leaders to recognize immigrants as key members of society that Italian-Americans weren’t fully accepted. To say she’s an important part of their community is an understatement.
Monteverde’s ability to film a period piece is undeniable. The production design is masterful and really positions the viewer in a time where misery was the rule and surviving was the only outcome. Living was just theoretical for immigrants who sought a better opportunity. He indulges in details and sometimes loses the perspective of the story because of this, but ultimately the film works because Cristiana Dell’Anna‘s performance as Cabrini forces the film to stay grounded in its hellish depiction of reality. Her role is not excessively dramatic, and Monteverde directs her to stay inside a territory of balance. While it’s a sad film, it feels much more hopeful because of a determined interpretation of Cabrini’s figure.
Sometimes a film is essential because of what it represents in its artistic setting. And sometimes, it’s just because of the story it tells on a channel that’s properly designed by a natural storyteller. Cabrini belongs in the latter, and it’s one of the films in 2024 that you should give yourself the opportunity to watch if you seek an uplifting experience.
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