It is a performances centric movie

Highly Overrated But Still Good

everything you have heard about this movie is true.

Clever, believable, and super fun to watch. It totally has replay value.

This tale of a tramp who is the recipient of the milk of human kindness but who finds it difficult to repay the goodness shown to him is typical of its director, Ermanno Olmi, but whereas other Olmi films deal with the common-place with an uncommon beauty this tale of the mystical is overtly simplistic. "The Legend of the Holy Drinker" is visually superb and we should expect nothing less from an Olmi picture but it is also very dry, very dull and very unevenly acted, (the partial dubbing of its international cast certainly doesn't help).As the tramp Rutger Hauer staggers around looking a little too bewildered at what's happening to him and the supporting cast are fundamentally just bit players in his far from interesting story. The Stravinsky score also sits somewhat uneasily on proceedings. Some people think this is a masterpiece while others have simply dismissed it. Personally I found it a crashing bore.

In the late 80s, Rutger Hauer had appeared in a string of wonderful and engaging movies. 'Escape From Sobibor', 'Bloodhounds Of Broadway', and 'On A Moonlit Night', all surpassed the level of workmanship found in his more action orientated movie's for which he'd become most well known for. 'Legend Of The Holy Drinker' arguably out shines all of the above film's, a laudable triumph, and one that sees Rutger Hauer deliver his finest performance of what has been a wonderful career. Hauer play's a street hobo called 'Andreas Kartak', an alcoholic who appears to be getting on with the grim task of being addicted to alcohol and being homeless. One day, a mysterious old man give's Andreas 200 francs, on the understanding that he repay his debt to the local Church when he is able to do so. What ensue's is a deeply symbolic and religious film that is acted with haunting perfection by the whole cast, with Hauer leading by example with an enchanting depiction of the alcoholic hobo. Set in an unknown era in Paris, the film itself is stunning to look at, with superb direction from veteran director Ermanno Olmi. Often movies are described as 'masterpieces', and in this case, the description is accurate. Other notable appearances include Anthony Quayle, Sandrine Dumas and french character actor Dominique Pinon. If you haven't seen 'Legend Of The Holy Drinker' i implore you to seek out a copy, it will not disappoint.

This simple tale is told at a pace which allows the audience time to reflect within the context of the moral challenges it presents. The result is a level of engagement far superior to the gamut of empty sophistication in the movie world. One is able to explore the implications of the actions and decisions of Hauer's character without leaving the narrative - there is no pressure for post viewing reflection when the spell of the film is broken and thought is coloured by a context inappropriate to the narrative. Here is a complete experience - moving, profound and visually beautiful - if only Hollywood could produce cinema of this standard.

Olmi is one of Europe's last Old Masters in the art of film making. He is usually regarded as a belated neo-realist, but after you've seen "The Legend of the Holy Drinker", you will realize the label simply does not stick. This is a film about spirituality, about communion, one of the most deeply religious movies ever, whose only rivals might be Dreyer's "Ordet" or Bergman's rather pretentious "faith trilogy" ("Through a Glass Darkly", "Winter Light" and "The Silence"). However, you will not find Scandinavian mists or angst in Catholic Olmi's adaptation of the beautiful novella written, oddly enough, by a great Jewish novelist, Joseph Roth. Wine is a metaphor for life, and Paris is a metaphor for our urban world. In this symbolic universe, it takes a great actor to give flesh and blood to the character of Andreas, the holy drinker, a beggar endowed with an amazing sense of dignity. Rutger Hauer was the man for the job: this was his best performance: he was never better, and, to judge from the course his career has taken, I fear he will never be better than in this film. It is not a thriller, but it is thrilling. It takes its own leisurely pace, but goes very far, very deep indeed into the human soul. After so many insipid or unpalatable cinematic concoctions, treat yourself to this film: it truly is vintage stuff.