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The Keys of the Kingdom

The Keys of the Kingdom

Drama · 1944

A young priest, Father Chisholm is sent to China to establish a Catholic parish among the non-Christian Chinese. While his boyhood friend, also a priest, flourishes in his calling as a priest in a more Christian area of the world, Father Chisholm struggles. He encounters hostility, isolation, disease, poverty and a variety of set backs which humble him, but make him more determined than ever to succeed.

Movie details

The Keys of the Kingdom

“THE PICTURE THAT TOUCHES NEW HEIGHTS OF EMOTION”

1944 Drama 2h 17m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

A young priest, Father Chisholm is sent to China to establish a Catholic parish among the non-Christian Chinese. While his boyhood friend, also a priest, flourishes in his calling as a priest in a more Christian area of the world, Father Chisholm struggles. He encounters hostility, isolation, disease, poverty and a variety of set backs which humble him, but make him more determined than ever to succeed.

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 Keys of the Kingdom?

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

John M. Stahl

Written by

Nunnally Johnson · Joseph L. Mankiewicz

Gregory Peck

Gregory Peck

Fr. Francis Chisholm

Thomas Mitchell

Thomas Mitchell

Willie Tulloch

Vincent Price

Vincent Price

Angus Mealey

Rose Stradner

Rose Stradner

Reverend Mother Maria-Veronica

Roddy McDowall

Roddy McDowall

Francis Chisholm, as a boy

Edmund Gwenn

Edmund Gwenn

Fr. Hamish MacNabb

Cedric Hardwicke

Cedric Hardwicke

Monsignor at Tweedside

Court is in session

Put The Keys of the Kingdom 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.