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The Shoes of the Fisherman

The Shoes of the Fisherman

Drama · 1968

Ukrainian bishop Kiril Lakota, a political prisoner in a Soviet gulag for twenty years, is unexpectedly released and sent to the Vatican, where, upon the sudden death of the Pope, leader of the Catholic Church, he must face a challenging destiny that will put the future of the entire world in his hands.

Movie details

The Shoes of the Fisherman

“From political prisoner to Pope.”

1968 Drama 2h 42m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Ukrainian bishop Kiril Lakota, a political prisoner in a Soviet gulag for twenty years, is unexpectedly released and sent to the Vatican, where, upon the sudden death of the Pope, leader of the Catholic Church, he must face a challenging destiny that will put the future of the entire world in his hands.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Shoes of the Fisherman?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Michael Anderson

Written by

James Kennaway · John Patrick

Anthony Quinn

Anthony Quinn

Kiril Lakota

Oskar Werner

Oskar Werner

Fr. David Telemond

David Janssen

David Janssen

George Faber

Vittorio De Sica

Vittorio De Sica

Cardinal Rinaldi

Laurence Olivier

Laurence Olivier

Piotr Ilyich Kamenev

Leo McKern

Leo McKern

Cardinal Leone

John Gielgud

John Gielgud

The Elder Pope

Court is in session

Put The Shoes of the Fisherman on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.