User Reviews

Dominik Moll makes few movies : this is only his fourth feature film in 17 years. But his themes are always very consistent. And his latest choice, "The Monk", Matthew G. Lewis's 18th Century cult novel, cherished by the Surrealists, appears as particularly relevant in the wake of "Intimacy", "Harry, He's Here To Help" and "Lemming". It is a good pick because the book's fiendish subject allows the director to go further into the issue he has explored in his two former movies : evil lurking behind the reassuring codes of polished society. The only real differences with his former works are that "The Monk" is a period film (the scene is set between the late 16th Century and the early 17th Century) and the first one made by the gifted French director outside France (it is filmed entirely in Almeria and Madrid, Spain), which only brings added value to his questioning : what more fertile soil is there indeed for evil to flourish than the cult of austerity and purity in a society permeated with religiosity? The strange thing is that "The Monk", with such potential assets, failed to draw large audiences as well as to get good reviews. Most critics even hammered the film, going as far as to call it a bomb. But is it really such a bad work? Personally, I do not think so. For sure, "The Monk" is not the masterpiece it could have been. Its main flaw may be that the film is too wise, more illustrative than really profound and unsettling (Ken Russell's 'The Devils", or even Stephen Frears's "Dangerous Liaisons", were much more troubling and inspired), but as it is, it does not deserve such rough treatment. The critics' excessive harshness may simply be due to expectations set too high and disappointed. For despite being too controlled, Dominik Moll's last effort IS a finely crafted film with beautiful, well-framed images (some, like Ambrosio preaching to his ravished congregation, even have the splendor of a Spanish painting of the time) , high quality sound design, and a very good (though occasionally a bit invading) score by Alberto Iglesias, well-chosen locations and a good cast. Brother Ambrosio, the Capuchin friar of the title, is aptly played by Vincent Cassel, who makes you believe throughout that he is this austere and uncompromising man of God who believes only in virtue and has no doubt he will remain safe from evil and lust. Also to be noted are Catherine Mouchet, moving as an ailing woman who suffers without losing her dignity, and young Camille Japy, whose presence in the role of the ingénue untouched by evil is refreshing.

When leaving the theater you may feel slightly frustrated for, yes, "The Monk" lacks a little intensity, but slightly only, as you will just have seen an interesting, well-made film. Not such a bad experience after all.

The movie is too predictable to really shock. The twists are telegraphed (or phoned in or emailed or whichever way you like to communicate). That doesn't make the movie bad, but it doesn't help making it great either. So while Vincent Cassel gives it all in a very complicated role and he delivers on it, the story and the way it is build up does not help him elevate the movie.

Acting is good, cinematography is good too and you have a decent sound design. The themes might speak to you (depending on your world-view), which is why some even saw a masterpiece in this. And I don't blame them, if they prioritize on other points than I do. I like the themes too, but again, there are quite a few shortcomings along the way.

Dominik Moll directs as well as adapts the screenplay alongside Anne-Louise Trividic , being adapted from Matthew G. Lewis' ,now cult , 1796 Gothic novel . The Monk traces the corruption of a 16th Century, pious Capuchin Monk . Madrid, in the seventeenth century . Abandoned at the doorstep of a monastery , a baby was taken and educated by a group of monks headed by Père Miguel (Jordi Dauder) . Left at birth at the gates of a Capuchin monastery in Madrid, Brother Ambrosio (Vincent Cassel), raised by the friars, grows up into a preacher admired far and wide for his fervor. Ambrosio is feared for his righteousness and believes he is immune from temptation - until the arrival a strange character . But Satan attempts to tempt Brother Ambrosio (Vincent Cassel) who was left on the door of a Cister Monastery . Ambrosio has been brought up by the Capucin Friars and after becoming a friar himself, he becomes an unrivaled preacher whose sermons draw crowds and earn him the admiration of all , especially a young girl named Antonia (Joséphine Japy) . Ambrosio is a monk who is sexually seduced by a sorceress , a young female named Valerio (Déborah François) in monk's robes . Admired for his extreme rigor and absolute virtue , Ambrosio is certain he is safe from any temptation . But Satan has not said his final word . As pleasures of the flesh incarnated by a young woman devoured his soul . After he has committed a crime , it appears that he will be caught by the Inquisition .

This is a slow-paced , deliberate though magnetic Gothic thriller . A supernatural thriller and sincere attempt to film one of the Eighteenth Century's most readable Gothic Novels . It is a riveting film though boring , waiting to be made from The Monk the classic 18th Century Gothic novel by Matthew Lewis . Anyway, the film is interesting , thematically intriguing , and usually scathing of virtually all institutions and classes , as marvelous cinematography by Patrick Blossier , breathtaking musical score , enjoyable production design , but, for a variety of reasons, it does not quite pull as much punch as it should have . It tells of the downfall of the devout Ambrosio , excellently played by Vincent Cassel , who fulminates about sins of the flesh in hellfire and brimstone sermons only to be tempted by a emissary of the devil masquerading as a monk , a gorgeous young woman well acted by Deborah Francois . Good support cast gives right performance and full of French actors as Josephine Japi , Catherine Mouchet , Roxane Duran and Spanish players as as Jordi Dauder , Javivi and Sergio Mateu who eleven years later shooting ¨Harry , he's here to help ¨ collaborated again with director Dominik Moll in some dream scenes filmed in Almeria , Spain . And special mention the veteran Geraldine Chaplin as L'abbesse . Adequate and atmospheric set design filmed on location in Madrid , Navarra, Girona and Monatery of Santa Creus , Tarragona . Intriguing as well as evocative musical score by several times Oscar nominated Alberto Iglesias .

The motion picture also called Le Moine, was professional though slowly directed by Dominik Moll . He has directed a few movies as Intimacy", "Harry, He's Here To Help" and "Lemming". ¨The Monk¨ is the third adaptation based on the classic novel , the first version was ¨The Monk¨ with Franco Nero , Nathalie Delon , Nicol Williamson directed by Ado Kyrou , including a screenplay by Luis Buñuel , subsequent remake ¨The monk¨ by Paco Lara Palop , starring Paul McGann as Father Lorenzo Rojas , Sophie Ward as Matilde Venegas , Isla Blair as Mother Agueda and Aitana Sánchez Gijin as Sister Ines .

Historical and monastery- or palace-related films are usually catchy and intense as both external and internal reclusion provide sufficient basis for these - particularly together with religious mystique. Le moine is a good example here, but not among the finest: its run is sometimes protracted, many supporting actors are unvaried (female ones, above all) and the ending does not summarize all "loose ends" recognised during the film. As of today, the issues approached do not awake the same feelings as centuries ago when the novel The Monk: A Romance was written by Matthew Gregory Lewis (1796) - at least in agnostics like me.

The gem of the film is undoubtedly the star Vincent Cassel as Capucino Ambrosio (= the Monk); he outperforms his counterparts and there are scenes where his presence could have been more visible (well, usually I am not so much into so-called solo films).

Thus, as for tenseness and uniformity of characters, Le moine leaves to be desired; e.g. The Name of the Rose is better.

Based on the Matthew Gregory Lewis novel published in 1796, the oft-adapted "The Monk" is a cinematic oddity about a 16th Century Spanish friar (the understated Victor Cassel) who's winning souls to Christ despite the fact that he is deep into his own crisis of faith (though the movie takes place in Spain, the dialogue is in French). The screenplay by Dominik Moll (who also directed the film) and Anne-Loiuse Trividic is rich in irony as Friar Ambrosio seeks salvation from the very same people who are seeking it from him. Only, in his case, salvation lies in becoming MORE worldly - particularly in the realm of sexuality - not less so. Raised an orphan in the monastery, Ambrosio is coming to realize that there are aspects of the outside world that his cloistered existence has never allowed him to experience, and that, perhaps, God is reaching out to him with the message that it might not be all that bad for him to give himself over to them.

Many people and factors seem to be conspiring to bring him to this realization, including a woman disguised as a mask-wearing monk (her cover is that she claims to have suffered disfiguring burns to "his" face); a beautiful, innocent young woman who comes to him for spiritual guidance; a pregnant nun; a series of supernatural dreams and visions; a really nasty poisonous centipede, and a strategically placed, crashing gargoyle.

Or is he simply falling prey to the Devil's lies and machinations and trying to find a way to justify rebelling against God?

It takes about half the length of the movie before we are finally hooked into the story, but, once we are, it becomes a powerful dissertation on the struggle between the flesh and the spirit that has defined the human condition for as long as we have inhabited this planet. The overly enigmatic plotting and deliberate pacing that function as distancing devices at the outset of the movie eventually pay off as the movie's theme crystallizes into sharper view.

The book is a very thick one, offering myriad materials, why does it turn out to be like a milk-and-water man? Has D. Moll shot any pilot footage for potential audience to comment? While working on this project, did he still remember MG Lewis's "The Monk" was among the very first Gothic novels in the history of the western literature? Mystery, darkness, suspense are necessary elements, however, the lack of the intensity and the excitement which should be generated by these three makes it less bright. The best treatment or suspense I find thus far is the very slow revelation of the relationship between Ambrosio and Antonia.

Truly, all ingredients are ready: beautiful, poetic visuals, high quality music score, good acting. It is so promising to be more powerful than J-J Annaud's "The name of the rose"! Only, seriously, truly, absolutely… re-editing is definitely imperative. Just a couple of revisions may make the work far much better: 1) more on Valerio and Le débauché for they prove Ambrosio's pride to be wrong, 2) score with Bach's St Matthew Passion and St John Passion or other church music of his on the shots of Frère Iago being struck by a heavy stony object from the façade, 3) adjust the lighting, use more candle light to reflect the darkness to create suspense and mysterious ambiance (I guess that something can be done on the footage/film), 4) re-arrange the storyline order, for example, right at the beginning, put the crow-pecking on the baby and the dead body of Ambrosio together to rouse people's curiosity, 5) more on his demure sermons to exhibit his hypocrisy, 6) close-up shots of Ambrosio's face while he is on the way to drug and rape Antonia, and a couple of other revisions...

While leaving the cinema house, my only comment: the editor is too lazy or busy to think. I for sure will be 100% happy to see the re-edited version if there will be one.

In December 1595, a baby is left at the Capuchin monastery just outside of Madrid. The monks debated and decided to raise the boy in the monastery. He would become their best orator Ambrosio (Vincent Cassel). The church is packed as his brand of strict faith inspires the congregation. Only his actions may lead him down a thorny path.

Vincent Cassel has a natural intensity. This could have been a very powerful and profound movie. The story is there to put on film. But this movie has little movement. Most of the time, the characters do not move at all. It is all talk, and some of it is confoundingly slow. Other than two or three exchanges, most of the dialog could have been slash in half.

The story is there. If starving a pregnant nun to death in a dungeon cell isn't compelling, then I don't know what is. The problem is everything in between. And the twist is as telegraphed as they come. This could have been a great character study as this man get more outrageous as the movie goes along. Instead, Cassel isn't allow to physically act. There is a good story but this isn't a good film. It's a promise unfulfilled.

I saw this movie very recently and was pleased. The film is a remake of an older work, from 1972, both of which are inspired by an older historical novel of the same name, published in 1796 by Matthew Gregory Lewis, an English playwright, perhaps still inspired by the vapors of republicanism and fanatical anticlericalism coming from neighboring Revolutionary France.

This film takes place in the early years of the 17th century, in the Spain of the ultra-Catholic Habsburg Kings. A baby, abandoned at the door of a Capuchin convent, becomes the prestigious preacher Friar Ambrósio, who draws crowds with his sermons. However, things change after the arrival of Valério, a new monk, whose burns force him to always keep his face covered. As time passes, we will discover that this new monk is not what he seems.

The plot is pleasant and has a Gothic touch, although it does not take place in the medieval period, but in the times of the Counter-Reformation. For me, as a historian, the film has too much imagination and there are very fanciful details, like the story of the pregnant nun left for dead. The original book is not so macabre, and it gives this character a better, more interesting and appealing plot, making the nun Agnes one of the heroines of the original story. And if it's true that I really enjoyed the dense environment and the pleasantly dark atmosphere, it's also true that the film is very still.

Being a French production, the cast is overwhelmingly French-speaking and delivers a restrained, elegant performance, more profound than truly dramatic. I liked the work done by the actresses Joséphine Japy and Déborah François, the latter being seductive without really having to show much of her body. Geraldine Chaplin also seemed to me to be fine in her short role. Roxane Duran and Frédéric Noaille both had very little time to show their worth. Ultimately, the film ends up being, almost, a one-actor film: the prestigious and competent Vincent Cassel sustains the film and gives us a mature, well-achieved and consistently intense work.

Making the gloomy environment even denser, the cinematography doesn't give us much space to see beyond the few points of light that exist in the scene. I understand that the director, Dominik Moll, wanted it, and saw in this cinematography, signed by Patrick Blossier, a mark of style, but for me, it was problematic and tiring. Without any exaggeration, there are scenes immersed in full darkness, with only the face of the actor or actress, partially visible in a very dim light. Along with this excessive darkness, the film's pace is exasperatingly slow: a 90-year-old woman in a walker walks faster. The music, signed by Alberto Iglesias, is good and does her job very well.

Matthew G. Lewis wrote this cult classic THE MONK in 1796, and while it was a scandalous work at the time it has survived as a window into the depravity of certain orders of the church. It is particularly timely as a film now, released amidst the scandals of the Catholic Church. Dominick Moll transforms this story in to a film so reminiscent of 16th century Spain in deco and costumes (Maria Clara Notari and Bina Daigeler), music (Alberto Iglesias), and atmospheric cinematography (Patrick Blossier) that the few lapses the story takes form the novel simply do not detract from the visual beauty of this film.

The film opens with an old beggar dropping off an infant on the church steps of a Capuchin monastery in 16th century Spain. The friars raise the child, convinced he is a miracle from the Virgin Mary and at age 18 Ambrosio (Vincent Cassell) takes the vows and becomes a sanctified Capucin monk, but not just a monk but also one blessed with righteousness and distance from temptation. Scores come to the monastery to simply see him and have him hear their confession. His beneficence to a young nun (Roxane Duran) who has become pregnant is cancelled by the abbess of the nunnery (Geraldine Chaplin) and evil begins to shroud the film. A young monk Valerio (Déborah François) is brought to the monastery masked to apparently cover the brutal burn wounds on his face, but in actuality Valerio has healing powers, is able to heal Ambrosio's frequent severe headaches, and finally reveals to Ambrosio that there is a women beneath that mask. From this point the near holy monk Ambrosio falls from grace and descends into seduction, depravity, satanic secrets and murder.

Yes, there are lapses in the story that beg explanation but the atmosphere created by the cinematic team and the performances by Vincent Cassell and the rest of the cast more than make this a fine cinematic achievement.

Grady Harp

Almost the only thing the film has in common with the Matthew Lewis novel is the title and the main character's name.

I don't understand the bad reviews and low ratings for this. Its the best movie I have seen in a while . Full of Gothic imagery and the wonderful acting skills of Vincent Cassel .Lots of other interesting characters and wonderful shots of the countryside of Navarra ,Spain also. I throughly enjoyed every minute of it myself. I haven't read the book so I'm not going to go into that side of it. I gave this a 9 and its rare enough I would rate a movie that high. Normally I don't bother writing reviews but I felt I had to say something here as "The Monk " is getting slated unfairly in my opinion. Don't be put off by the ratings here is all Im saying. This movie is more than worth watching.

"Isn't it strange how we fail to see the meaning of things, until it suddenly dawns on us?"

Are monks greater than common people spiritually? Finally, this monk sees purity in common people more than him. What is right, what is wrong, who will decide it? What is sin, who will judge it? Is it church? Or priests? Is it relation between man and women a sin? It is the story of monk who has seen the cruelty of his traditional monkhood and illusions of his purity. At the time of facing world and his inner instincts, he becomes meaner than a criminal. His cruel pride of holiness becomes not but vein.

Director Dominik Moll becomes one of the great directors in the world with this move. The way he made this movie is highly spiritual. His insight is outstanding. Photography and music are soul stirring. Amazing sound recording and art.

Some Traditional Catholics may not like this movie. But seekers of truth belong to any religion must watch this movie. It is truly artistic and philosophical. It is highly recommended.

Beautiful images. Good cast. Generous idea and inspiring option for a successful adaptation. And final taste of sand. Result - a movie who may be more interesting, a seductive dusty story and silhouette of Vincent Cassel,drop-presence of Geraldine Chaplin and a tale told in haste and careless. Few crumbs from Spanish picture and fruits of sufficiency and self-deception. Sin as shadow of snake in the heart of every Faust. And music as oil for dark bread. A Catholic movie about price of Icarus flight. The rush is principal error. And the desire to create a powerful moral lesson. So, at final, the basic virtue is inspiring play of Cassell. Is it enough ? Maybe.

It's quite sure one my favorite theme, the church on medieval era, like "Der Name Der Rose" "The Conclave" "Agnes of God" just to appoint a few, many things were covered by Catholic Church on those past days, this gothic tale adapted from a book, it exposes one of the most usually scandals from this period of time, demoniac possession together the break of vows of chastity, Dominic Moll starting this point inserting this usual matter on an incorruptible Monk Ambrosio (Vincent Cassel) adopted by Monastery since he was a baby on Church's front door, when a appear a young Valerio who was seriously burned by fire at his face, which he did hide by a mask, he almost begging to Monk Ambrosio be accepted among them, his purpose is to reach to God, he has strong healing powers, reliving the severe Ambrosio's headaches, strange and odd revelations come up, actually brother Valerio is a beauty girl, when Ambrosio is bite by a poisoned centipede, he stays between the life and death, he accepts be healed by Valerio for a highest price, one the greatest gothic tales that I ever seen, sadly misunderstood by mostly IMDB's reviewers!!

Resume:

First watch: 2020 / How many: 1 / Source: DVD / Rating: 8.5

I'm not familiar with director Dominik Moll, but I must say that I'm readily impressed with his work here. I recognize in 'The monk' a distinctly visual approach to storytelling that recalls the most celebrated artistry of the silent era; if this picture forswore sound and verbal dialogue in favor of intertitles the result would be much the same. Moll's arrangement of shots and scenes, Patrick Blossier's cinematography, Francois Gédigier and Sylvie Lager's editing (emphatically including transitions), the very deliberate use of lighting - all these elements point to a high-minded flair for rich imagery that even at its best just hasn't been the same since the adavent of talkies. This is only accentuated in those moments when shots and scenes pass before us without any especial sound or dialogue - the feature communicates the wealth of what it must merely with what greets our eyes. My commendations to Moll and everyone else involved, including co-writer Anne-Louise Trividic, for it's a very precise and calculated manner that 'The monk' adopts; the commitment is admirable, and the result is exceptional even before we take the content into account.

That content is itself abundantly flavorful. Several different story threads meet us from the outset, with no readily apparent connection between them except that directly or indirectly, each swirl around the monk Ambrosio, a man of strident faith who finds sudden struggle. Yet common themes present all the while of a conflict between human desire and spiritual devotion, will versus temptation, poison both literal and figurative; the strictures of zealous religious fervor, superstition, or stringent social norms and values, all of which stress punishment and suffering (in one form or another) as virtues; and more. Even as these threads remain apart, and only scarcely and gradually intersecting, one is just as terrifically absorbing as the next, and exquisitely executed. For as much as 'The monk' endeavors to do in these 100 minutes, Moll and Trividic nevertheless give us vividly complex characters, and intense, cutting dialogue; vibrant scene writing that fiercely commands our attention; and overall notions of plot that are stupendously compelling, and even haunting, and not just satisfying as a viewer but altogether rewarding. Whether or not one might say that the feature is totally perfect, I don't think there's any arguing that the execution of each component part is perfectly tremendous.

Such excellent unquestionably includes the gorgeous, remote filming locations in Spain, and the production design and art direction. The costume design and hair and makeup work are splendid, all serving to cement the period setting; those sparing effects that are employed look fantastic. As suggested, the entirety of the technical craft is wholly magnificent, fetching from one aspect to the next, and I also love Alberto Iglesias' original score - as tense and frankly spellbinding as every moment it accompanies, the music helps to solidify an unexpectedly dark air that hangs over 'The monk' as the narrative drives deeper and harder. To that end, it could well be said that this is in no small part a psychological drama, obliquely exploring the terrible, tangled weave of Ambrosio's mind as he falls further from his ideals. Consider this slant in combination with the plot, Iglesias' themes, and some specific images that are either abnormal in their own right, unfamiliar to the point of abnormality to modern audiences, or even just simply utilized to very particular ends, and there's even an underhanded yet unmistakable intonation of (psychological) horror to the proceedings as they become more and more harrowing and grim.

And - and! - all this is to say nothing of the cast! I can think of no other words with which to describe the acting, for the performances, too, are perfect. Vincent Cassel, Déborah Francois, Joséphine Japy, Catherine Mouchet, and all other presenting offer up profound, gratifying range, nuance, personality, physicality, and otherwise skill that shows beyond a doubt what fabulous actors they are. Their contributions are but on the icing on the proverbial cake for a feature that from the very start is quietly mesmerizing - and which, bit by bit, only grows ever more bewitching, if not downright bleak. All those themes and story ideas which bear varying levels of connection throughout the length slowly amalgamate into a boiling morass of building pressure and a tantalizing pull, becoming more forceful severe all the while. The payoff is extraordinary, with the last twenty minutes or so especially eliciting reactions of astonishment - but also, as a viewer, abject giddy delight at the fruit that the seeds have finally borne.

In all honesty I didn't know quite what to expect when I first sat to watch; it was Cassel's involvement that drew me in, but I knew nothing otherwise. For as simply as the picture began, it's safe to say I wasn't prepared for the marvelous depths it would plumb, nor the heights it would achieve. My words were perhaps too modest before; in my opinion there's no "whether or not" - I think 'The monk' is totally perfect. Writing, direction, acting, all facets of the production, from unassuming start to grand finish this is sharp, engaging, and outright dazzling. It's wonderfully rich in all regards, striking all the right notes even if it takes its time to do so. What else to even say at this point? I've exhausted my capacity to speak coherently about this movie; 'The monk' is brilliant, and far more and better than I ever could have hoped sights unseen - a must-see, earning my highest and most enthusiastic recommendation. Bravo!

Wow! Such deep interpretation of God & Devil act in our world, in human lives. I am so impressed and touched by this movie. In a daily life, thoughts, relations, actions... there always will be two forces with interest for our energies, our souls.

And never forget how love is the sharpest instrument to access our mind and soul.

The devil can get inside of us as deep as we allow it, not any futher.

So in nowadays, when wars are around the globe... we need to understan how important is to keep light in our hearts and never stop believing in Gods, never lost faith and love to Him. This is so important.

I am thankful for this movie. And I really hope more people will find it and be touched by it.

When this DVD arrived, my heart sank. It's been packaged and marketed like some kind of cheesy slasher movie when, in fact, it's quite intelligent and well-made. First hour is absorbing, with Vincent Cassel as terrific as ever as the eponymous monk, a deeply sympathetic figure, so when his fall from grace comes, it is all the more disappointing. The last half-hour unfortunately peddles many cliches of the horror idiom, though it never lapses into cheap sensationalism. Final spectacular sequence seems like an allegory of Christ in the wilderness. Basically the movie suffers from a kind of identity crisis, never quite knowing whether it's a spiritual biography or a penny dreadful.

a monk. and the balance between virtue and sin. a medieval story. and the realities of each century. it is not easy to use, in right manner, a delicate theme like this. but The Monk is a decent example and its basic virtue is the performance of Vincent Cassel who gives to the father Ambrosio the right portrait of fight against temptations and who has its fail as result of the need to be yourself. a film about solitude and mission, it is one of films who preserves the flavor of a fascinating period , talking, with delicacy, about ours. and this fact does the film interesting. seductive. strange. because it is only the chronicle of an war who has the virtue to be not only the war against himself of a man of Church. it is a film about choices. who are more than choices of a monk. and, more important, it is a bridge to a manner to discover and assume reality who could not be reduced at a sketch of a past page from history.