Robert Duvall did an excellent job bringing this film to life. The other 'actors' in the film also contribute to give "The Apostle" a realistic warmth rarely achieved in mainstream films. I refer to the cast as 'actors' because aside from numerous character actors, Duvall being one of the greatest, the film is inhabited by non-actors. In other words, the people in church, from the Holiness preachers to the warm small-town folk, are real people, not trained in acting. Duvall's story is engaging and beautiful in the way it shows the flaws amid great talent in a man who chooses for himself the calling of Apostle. I love this film, the accurate portrayal of some aspects of southern U.S. life and culture, and especially Duvall's performance.
154 Reviews
wonderful Duvall
SnoopyStyle2 July 2017
Sonny Dewey (Robert Duvall) is a preacher in Texas. His wife Jessie leaves him for a younger minister. She takes their children and gets his church after a vote. Desperate to see his kids, Sonny beats up Jessie's man with a baseball bat. He goes on the run and ends up in rural Louisiana. He befriends Brother Blackwell and starts dating receptionist Toosie. He starts a new church with new identity Apostle E.F. He preaches on the radio. His mixed congregation enrages a racist (Billy Bob Thornton).
Robert Duvall is a master. His character is complex. He is awe inspiring. His journey does meander at times but it is always fascinating. Despite the long running time, it doesn't lag. I love his preaching. The montage of preaching is wonderful. This is a character study of the highest order.
Robert Duvall is a master. His character is complex. He is awe inspiring. His journey does meander at times but it is always fascinating. Despite the long running time, it doesn't lag. I love his preaching. The montage of preaching is wonderful. This is a character study of the highest order.
An Honest Film of Flawed Faith
jmfaucette20 March 2006
The Apostle is a wonderfully constructed work that deals with a few intense issues including faith and the Christian's relationship with God. The director uses small scenes and sequences to illustrate how Sonny lives out his faith and to help the viewer experience Sonny's life more fully. For instance, on his way to Louisiana Sonny walks past a bar to catch a bus. Without hesitation he enters the bar and emerges moments later with a slightly inebriated man, telling him that he does not have to go in there anymore. When on his journey, Sonny relies so completely on faith that he actually stops in the middle of a crossroads and kneels to pray, asking God to direct him. God does not disappoint. Though The Apostle is a work of fiction, it does a great job of presenting faith that is shunned by the world and continuously proved by God. When Sonny stops to pray at a car-crash, it appears that the wife is probably dead and the husband is in fairly critical condition. Sonny prays with them despite an officer's orders and drives away. As Sonny is leaving, the viewer sees the wife's hand grip her husbands, presumably showing God's work in the situation; Sonny's reply: "Momma, we made news in heaven today." Duvall's film also deals greatly with the humanity of Christians. Though Sonny is a murderer and a womanizer, God still chooses to use him. One cannot help but to think of Abraham being called and leaving his idols behind. Some say that art imitates life, while others argue that life imitates art. Whichever is true in the end, the Apostle paints a picture of beautifully honest and flawed faith; a picture that everyone can learn from, no matter where they walk.
A story of spiritual struggle
lwkloth27 December 2001
In order to fully appreciate "The Apostle" it might help to have some experience with southern Pentecostal culture. I do, and was completely taken in by the film. My wife, on the other hand, doesn't have that experience and understands neither the film nor my fondness for it. But I think that, if one is not distracted or confused or simply put off by the loud, emotional, sometimes corny religiosity portrayed here, one can see a strong, compelling story of a seriously, ultimately fatally flawed man whose faith in God and in God's mission for him reaches to his very core.
On the surface, one can view Sonny Dewey as just another example of a certain type of religious fraud: the backslapping, perpetually-grinning, wisecracking good old boy who uses religion and exploits his flock for his own selfish ends. He looks like someone who doesn't practice what he preaches. He womanizes, he's not above taking a snort from this pocket flask, he has a troubled marriage and we get the hint that he is the source of more than his share of the trouble, even to the extent of driving his wife into the arms of another man. He seems to be just another Elmer Gantry or, to pick from the real world, he's just like one of the fallen televangelists of recent years. But just when you're comfortable with that judgment of him, Sonny proves you wrong. He admits to his faults, some more freely than others. But he makes no excuses for them and, in the end, he knows that he is going to pay for them.
What really draws me into the film, and what really makes Sonny interesting for me, is the way Duvall has made him such a complex character. He's a bad guy and a good guy. He is darkness and he is light. He is sometimes endearing and other times someone you really don't feel comfortable trusting. But by creating this ambiguity, Duvall does a service not only to the way religious leaders are characterized in film, he also pays homage to core religious issues. By diving into the murky waters of Sonny's soul, Duvall goes into territory known to any seriously religious person. As much as you might want things to be black and white, a good portion of the time you're being pulled back into the shadows: there are good intentions and evil deeds; there are selfless aspirations and appetites to be fed. Sometimes you swing wildly from one side to the other. Sometimes you are on an even keel. Sometimes you're not sure.
Faith and work determine how such a struggle will turn out. Sonny is energized by both. He believes in what he is doing. He believes that God has given him a mission and he is determined to accomplish it, even in spite of himself. While it might be tempting to make a stark contrast between the message Sonny preaches and the actions he has done that are contrary to it, one must always remember that a good preacher always preaches to himself as well as his congregation. But some of the more revealing moments of the film are not when Sonny is in front of a congregation, or even with other people generally, but when he is alone with God: ranting at God in anger; dedicating himself to God in the moment that he becomes the Apostle; the soul-searching moments when he forgives his wife and resigns himself to his fate.
The no-punches-pulled realness of Sonny's struggle is a refreshing departure from the usual film portrayals of religious figures: plaster saint, con-man, one-dimensional milquetoast. But it also brings to the forefront the question of whether Sonny, or any of us, can be used for divine purpose.
"The Apostle" is beautifully filmed and captures well a portion of the rural South: you can almost feel the humidity and smell the swampwater. And while the well-known actors in the film (Farrah Fawcett, Billy Bob Thornton, Miranda Richardson) all turn in fine performances, it is the unknowns --the church members and townfolk -- that really give the film an added authenticity.
On the surface, one can view Sonny Dewey as just another example of a certain type of religious fraud: the backslapping, perpetually-grinning, wisecracking good old boy who uses religion and exploits his flock for his own selfish ends. He looks like someone who doesn't practice what he preaches. He womanizes, he's not above taking a snort from this pocket flask, he has a troubled marriage and we get the hint that he is the source of more than his share of the trouble, even to the extent of driving his wife into the arms of another man. He seems to be just another Elmer Gantry or, to pick from the real world, he's just like one of the fallen televangelists of recent years. But just when you're comfortable with that judgment of him, Sonny proves you wrong. He admits to his faults, some more freely than others. But he makes no excuses for them and, in the end, he knows that he is going to pay for them.
What really draws me into the film, and what really makes Sonny interesting for me, is the way Duvall has made him such a complex character. He's a bad guy and a good guy. He is darkness and he is light. He is sometimes endearing and other times someone you really don't feel comfortable trusting. But by creating this ambiguity, Duvall does a service not only to the way religious leaders are characterized in film, he also pays homage to core religious issues. By diving into the murky waters of Sonny's soul, Duvall goes into territory known to any seriously religious person. As much as you might want things to be black and white, a good portion of the time you're being pulled back into the shadows: there are good intentions and evil deeds; there are selfless aspirations and appetites to be fed. Sometimes you swing wildly from one side to the other. Sometimes you are on an even keel. Sometimes you're not sure.
Faith and work determine how such a struggle will turn out. Sonny is energized by both. He believes in what he is doing. He believes that God has given him a mission and he is determined to accomplish it, even in spite of himself. While it might be tempting to make a stark contrast between the message Sonny preaches and the actions he has done that are contrary to it, one must always remember that a good preacher always preaches to himself as well as his congregation. But some of the more revealing moments of the film are not when Sonny is in front of a congregation, or even with other people generally, but when he is alone with God: ranting at God in anger; dedicating himself to God in the moment that he becomes the Apostle; the soul-searching moments when he forgives his wife and resigns himself to his fate.
The no-punches-pulled realness of Sonny's struggle is a refreshing departure from the usual film portrayals of religious figures: plaster saint, con-man, one-dimensional milquetoast. But it also brings to the forefront the question of whether Sonny, or any of us, can be used for divine purpose.
"The Apostle" is beautifully filmed and captures well a portion of the rural South: you can almost feel the humidity and smell the swampwater. And while the well-known actors in the film (Farrah Fawcett, Billy Bob Thornton, Miranda Richardson) all turn in fine performances, it is the unknowns --the church members and townfolk -- that really give the film an added authenticity.
Duvall's ability to portray his character with his dynamic voice and strong appearance allows his performance to transcend his film.
ilovedolby28 May 2003
Robert Duvall (`Gods And Generals') has long been known as one of America's finest actors. His ability to portray characters with his dynamic voice and strong appearance allows his performances to transcend the films that he acts in. In his most ambitious project, `The Apostle,' in which he directs, is a screenwriter, acts and is an executive producer, Duvall finds himself in uncharted movie territory as a preacher whose unhealthy obsession with God and his church leads to his own downfall. Although the film incorporates superb performances and great direction, it does suffer from being too lengthy and drawn out. `The Apostle' is the story of Eulis `Sonny' Dewey (Duvall) who parish is taken away from him when his adulteress wife Jessie (Farrah Fawcett) decides to leave him and take their children away for a younger preacher in the same parish. As such, Eulis, under the influence of alcohol and his own convictions attacks Jessie's beau, putting him in a coma that eventually leads to his own death. Eulis leaves town and decides to start his life anew. Finding a small village with a broken down church, he sets up a new congregation and develops followers who listen to his radio program as he appears as the Apostle E.F. The one problem with `The Apostle' is the lengthy church scenes. It seems as if Duvall just goes around and around again with the same things to say over and over. Although this could work in reality if preaching to different congregations, to a movie audience, it's not necessary to continuously drag them through the same scenes, in a different church. After all, there are only so many times in a two-hour film that we can bare to hear praise Jesus.' However, it does show the zealous nature of the character of Eulis and his deep affinity to the church. The performances in `The Apostle' were outstanding. Duvall comes off as both enlightening through his sermons and utterly terrifying through his anger towards his wife, her boyfriend, and to an unruly member of society (Billy Bob Thornton) who doesn't want the Apostle E.F.'s church around. Fawcett's character as Jessie, Eulis's much younger wife, is well portrayed, however, it's arguable that she is underused in the film. The performances of Miranda Richardson (`The Hours'), John Beasley (`The Sum of All Fears') and Billy Bob Thornton (`Bandits') were excellent, as well.
Duvall's direction of the film was wonderful. It's easy to grasp that `The Apostle' was his personal masterpiece that he'd been trying to craft for several years. One element of avoiding conventional cinematography was used that added an artistic sense to the feature in which Eulis baptizes himself to absolve himself of his sins. The camera was used in slow motion at the end of the scene with the morning sun light behind Duvall as he wades in a river, giving him a mysterious appearance. In the end, the film does work and is highly recommendable, regardless of its prolonged ceremonial scenes that just seem to make the film drag, rather than flow. ***
Duvall's direction of the film was wonderful. It's easy to grasp that `The Apostle' was his personal masterpiece that he'd been trying to craft for several years. One element of avoiding conventional cinematography was used that added an artistic sense to the feature in which Eulis baptizes himself to absolve himself of his sins. The camera was used in slow motion at the end of the scene with the morning sun light behind Duvall as he wades in a river, giving him a mysterious appearance. In the end, the film does work and is highly recommendable, regardless of its prolonged ceremonial scenes that just seem to make the film drag, rather than flow. ***
Fascinating Character Study
isleofdawn30 July 2004
You can't help but being mesmerized by Robert Duvall in the title role. He must of seen a lot of southern preachers as he grew up, because he wrote this as well and the role suited him to a tee.
The supporting cast is fine, with Rick Dial and John Beasley getting kudos for their work, but the movie is first and foremost about The Apostle. If you like Robert Duvall as an actor, you will like this movie. His attention to detail in his roles is well known. He brings quirks and nuances to help flesh out his characters, and this role is no different.
The Apostle is a flawed man who can lift others up, but has trouble lifting himself up. And that contradiction is what gives this movie its flavor. All-in-all, a fine movie.
The supporting cast is fine, with Rick Dial and John Beasley getting kudos for their work, but the movie is first and foremost about The Apostle. If you like Robert Duvall as an actor, you will like this movie. His attention to detail in his roles is well known. He brings quirks and nuances to help flesh out his characters, and this role is no different.
The Apostle is a flawed man who can lift others up, but has trouble lifting himself up. And that contradiction is what gives this movie its flavor. All-in-all, a fine movie.
Courageous Story of Redemption
icelandreliant12 October 2004
I will always admire Robert Duvall for all the personal effort he put into making this film. As a church worker who is a moderate/liberal Christian, there are few other movies like it out there. It presents a pastor who is clearly flawed and sinful, as all of us are. However, it also presents someone who simply wants to serve the Lord and help people, whether they are poor, black or prisoners. The filming locations and use of real pastors give the movie an extremely authentic feel. Great music as well! Highly recommended movie with great acting, a story that makes you think and a balanced portrayal of evangelical Christianity.
A Seamless Fictional Documentary
lllinggg9 July 2003
Created by Robert Duvall as a fiction film, but worth taking in as a documentary, 'The Apostle' is a striking commentary on contemporary Christian Americana. Duvall is Texas preacher Eulis 'Sonny' Dewey, whose irreverent lifestyle leads him away from his family, to a journey of self-discovery in the bayou lands of southern Louisiana.
It is difficult to resist the film's realistic portrayal of Pentecostal Christianity, which appeals on both religious and secular levels. The convincing performances by Duvall, Farrah Fawcett (as Dewey's wife) and Billy Bob Thornton constitute the rigid base on which everything else stands. Furthermore, the daring integration of actors and non-actors in a plethora of sequences throughout the film is so successful that it is virtually impossible to discern the directorial seams that hold this polished film together.
Direction, though, is far from flawless, and one gets the impression that more rigid editing could have added firmness on a somewhat stretched script. But the overall impact of these shortcomings on the film is limited, thanks mainly to the creative passion that visibly permeates the production of this fine effort. Worth watching, six stars out of ten.
It is difficult to resist the film's realistic portrayal of Pentecostal Christianity, which appeals on both religious and secular levels. The convincing performances by Duvall, Farrah Fawcett (as Dewey's wife) and Billy Bob Thornton constitute the rigid base on which everything else stands. Furthermore, the daring integration of actors and non-actors in a plethora of sequences throughout the film is so successful that it is virtually impossible to discern the directorial seams that hold this polished film together.
Direction, though, is far from flawless, and one gets the impression that more rigid editing could have added firmness on a somewhat stretched script. But the overall impact of these shortcomings on the film is limited, thanks mainly to the creative passion that visibly permeates the production of this fine effort. Worth watching, six stars out of ten.
Shakespeare would have borrowed this storyline
Glaschu9 September 1999
This film kept me thinking for days afterwards. A highly emotionally charged film, The Apostle is essentially a one-man tour de force for Duvall with an ensemble supporting cast. Duvall's performance was so convincing that had he performed this role live I'm sure he would have moved the whole audience to tears.
I resisted seeing this film at first expecting that it would be the usual tired, antireligious stereotype that late twentieth century script writers revel in. But The Apostle does not blindly follow any stereotypes. The premise is plausible and the realistic character portrayals give the viewer the feeling that they are right there in the story. This is a riveting tragic tale of a very flawed man who has the gift of inspiring others to better and greater things. Had Shakespeare been around today, he would have borrowed this storyline, but I doubt he could have done a better job.
It is a cautionary tale for anyone in a position of leadership. Somehow, despite the tragedy framing this story, I found it very uplifting. If you like a film with a message that prompts you to think, then see this movie.
I resisted seeing this film at first expecting that it would be the usual tired, antireligious stereotype that late twentieth century script writers revel in. But The Apostle does not blindly follow any stereotypes. The premise is plausible and the realistic character portrayals give the viewer the feeling that they are right there in the story. This is a riveting tragic tale of a very flawed man who has the gift of inspiring others to better and greater things. Had Shakespeare been around today, he would have borrowed this storyline, but I doubt he could have done a better job.
It is a cautionary tale for anyone in a position of leadership. Somehow, despite the tragedy framing this story, I found it very uplifting. If you like a film with a message that prompts you to think, then see this movie.
A simple story
valadas14 February 2001
This is a very hard movie for an agnostic to comment. However although it is not a masterpiece nor does it use any special effects, it is really a powerful movie who tells us a very simple story of a man who not only strongly believes in what he preaches but also has the power to convince other people by his words. By his words but not by his deeds since he has his troubles and weaknesses as a human being and like any other ordinary human being he reacts to them using violence. He is also capable of loving a woman like any man would though he tries to do it in a restrained way. The narrating style is naturalistic, almost documentary.
"I'll Fly Away"
Lechuguilla26 May 2007
This is a film with genuine heart and soul. It's got depth of characterization seldom found in Hollywood films. Robert Duvall gives a great performance as the sincere but flawed Pentecostal preacher, Sonny Dewey. After his marriage turns sour, followed by a spontaneous act of violence with a baseball bat, Sonny flees his home in Texas and ends up in the South Louisiana bayou country. Here, he changes his name to "The Apostle E.F." With the help of a local Black preacher, The Apostle starts a new church, called the "One Way Road To Heaven" Temple, a tiny wooden building out in the middle of nowhere.
As good as Duvall is in his performance, reinforced by a brilliant performance from Miranda Richardson in a support role, the film's non-actors, local people brought in to add authenticity to the setting, are even more convincing. No Central Casting actors could ever give the depth of characterization that these local people bring to the story. Sister Johnson, in her pink Sunday-go-to-meetin' outfit, and Sister Delilah are just terrific, as is Rick Dial, as Elmo, the local radio station host who gives The Apostle a chance to evangelize.
And whether he's preaching on radio or directly to a church congregation, The Apostle, with deep emotional conviction, shouts out his pronouncements using literal verbal imagery consistent with a literal interpretation of the Bible: "holy ghost preaching machine"; "a holy ghost explosion"; "we're going to short circuit the devil". The congregation sequences are largely improvisational, built on real emotion and feeling from real people; nothing canned here; remarkably genuine.
The film's weakness is the contrived plot that revolves around Sonny's marriage. His wife is played by Farrah Fawcett, a usually fine actress, who seems miscast here. In addition, some of the scenes, especially in the first half, could have been edited out.
You can't have a film about Pentecostal preaching without gospel music. And in "The Apostle", the hymns are old, traditional Bible-belt favorites: "I Love To Tell The Story", "Softly And Tenderly", and "I'll Fly Away". The film's subject matter, largely implied about death, the heartfelt hymns, and the film's lighting combine to render a general tone of sadness and depression, although laughter and joy find their ways into the story, as well.
Despite a hokey, contrived plot, "The Apostle" is mesmerizing in its authenticity of those in the American South who abide by the Pentecostal faith. Some viewers may find all the shouting and foot stomping off-putting. But it is genuine. In addition to being entertaining for the most part, the film will be a real eye opener for some viewers.
As good as Duvall is in his performance, reinforced by a brilliant performance from Miranda Richardson in a support role, the film's non-actors, local people brought in to add authenticity to the setting, are even more convincing. No Central Casting actors could ever give the depth of characterization that these local people bring to the story. Sister Johnson, in her pink Sunday-go-to-meetin' outfit, and Sister Delilah are just terrific, as is Rick Dial, as Elmo, the local radio station host who gives The Apostle a chance to evangelize.
And whether he's preaching on radio or directly to a church congregation, The Apostle, with deep emotional conviction, shouts out his pronouncements using literal verbal imagery consistent with a literal interpretation of the Bible: "holy ghost preaching machine"; "a holy ghost explosion"; "we're going to short circuit the devil". The congregation sequences are largely improvisational, built on real emotion and feeling from real people; nothing canned here; remarkably genuine.
The film's weakness is the contrived plot that revolves around Sonny's marriage. His wife is played by Farrah Fawcett, a usually fine actress, who seems miscast here. In addition, some of the scenes, especially in the first half, could have been edited out.
You can't have a film about Pentecostal preaching without gospel music. And in "The Apostle", the hymns are old, traditional Bible-belt favorites: "I Love To Tell The Story", "Softly And Tenderly", and "I'll Fly Away". The film's subject matter, largely implied about death, the heartfelt hymns, and the film's lighting combine to render a general tone of sadness and depression, although laughter and joy find their ways into the story, as well.
Despite a hokey, contrived plot, "The Apostle" is mesmerizing in its authenticity of those in the American South who abide by the Pentecostal faith. Some viewers may find all the shouting and foot stomping off-putting. But it is genuine. In addition to being entertaining for the most part, the film will be a real eye opener for some viewers.
Engaging story driven by powerful performance from Robert Duvall
grantss9 April 2015
An engaging story driven by a very powerful performance from Robert Duvall.
The story of a minister in a evangelical Christian church who starts a new life after committing a crime. Interesting and engaging story as we see the man's life destroyed and then see him rebuild it, and see the effect he has on others.
Superb performance by Robert Duvall in the lead role (though we have come to expect that from him). Very believable as the preacher, with mannerisms, doctrine etc very well researched.
While having an interesting plot (written by Duvall) and also being well-directed (by Duvall), the movie isn't too profound, which is disappointing. I was waiting for that moment of clarity, but it never came.
It is all about the journey, not the destination, in this case.
The story of a minister in a evangelical Christian church who starts a new life after committing a crime. Interesting and engaging story as we see the man's life destroyed and then see him rebuild it, and see the effect he has on others.
Superb performance by Robert Duvall in the lead role (though we have come to expect that from him). Very believable as the preacher, with mannerisms, doctrine etc very well researched.
While having an interesting plot (written by Duvall) and also being well-directed (by Duvall), the movie isn't too profound, which is disappointing. I was waiting for that moment of clarity, but it never came.
It is all about the journey, not the destination, in this case.
Can I get a witness?
oyason16 July 2004
I didn't grow up down South, or even in the midwest, but I do know a little bit about the Pentacostal Church and Christian fundamentalism. Robert Duvall is an ambitious actor and film maker, and The Apostle hits home with its perceptive and loving portrayal of country people in the United States. It is refreshing to see that culture portrayed as something other than gaggles of yahoos. The Apostle focuses on the community spirit of the church, and thereby shatters some of the mystery of its appeal in a culture as self-centered as our own. There are no saints in this story, just a protagonist and his supporters trying to make sense of a country in which there is little love and way too much usury. The film is harsh on a number of levels, very no-nonsense though drawn out at various moments. But it's real, and that's more than can be said for ninety per cent of what passes for films about U.S. culture these days. It's said by some folks that Robert Duvall has been trying to make this film for a lot of years, and there are parts of The Apostle that contain faint echoes of his 1983 project Tender Mercies. It hardly matters, since both are interesting films for different reasons. Some day we'll see Robert Duvall as the vast repository of Americana he really is, until then, The Apostle is one of the best testimonies to his strengths that I know of. Can I get a witness?
Amen!
Kerryman22 January 1999
The Apostle is a gripping film on a most unpromising subject matter. The film has none of the obvious flash of movies such as Elmer Gantry and The Rainmaker which covered some of the same territory. The Apostle is based on straightforward storytelling, great character development and nice, gentle pacing - but with a strong kick.
Robert Duvall, one of the best actors of the last thirty years, gives a powerful performance as the preacher driven by his inner demons - and gods. Over the years, we've seen preachers played by actors ranging from Burt Lancaster to Steve Martin but Robert Duvall comes up with a truly individual and original interpretation. What makes the character Sonny stand out is that he is so real! Ranging from his most charismatic (doing a Joe Dolan impersonation?) to his most personal, one feels that Sonny (the apostle EF) is real, believes what he is doing is real and is confident in his destiny - no matter how odd or quirky he appears at times.
The film is character driven with a good sprinkling of incidents throughout. Story points introduced early on and developed before half way give the film a strong feel of The Fugitive, the TV series - laid back, story based but with the undercurrent of "a ticking bomb under the table" (Alfred Hitchcock).
Minor quibbles: Miranda Richardson's character is a little too young for Robert Duvall's. June Carter Cash, both the actress and the character, seem under utilised. And at times it is possible to see the joins. The version I saw on video appears to be shorter than that shown originally in the US cinema. This pruning may account for some of these minor points.
Overall, The Apostle is highly recommended. Filmgoers without a strong interest in religious matters should find the characters, their treatment and the landscape in which they operate fascinating. Most people of a religious disposition should have little difficulty with the film as a film though they may not always like what they see from a religious viewpoint. 8.75.
Amen!
Robert Duvall, one of the best actors of the last thirty years, gives a powerful performance as the preacher driven by his inner demons - and gods. Over the years, we've seen preachers played by actors ranging from Burt Lancaster to Steve Martin but Robert Duvall comes up with a truly individual and original interpretation. What makes the character Sonny stand out is that he is so real! Ranging from his most charismatic (doing a Joe Dolan impersonation?) to his most personal, one feels that Sonny (the apostle EF) is real, believes what he is doing is real and is confident in his destiny - no matter how odd or quirky he appears at times.
The film is character driven with a good sprinkling of incidents throughout. Story points introduced early on and developed before half way give the film a strong feel of The Fugitive, the TV series - laid back, story based but with the undercurrent of "a ticking bomb under the table" (Alfred Hitchcock).
Minor quibbles: Miranda Richardson's character is a little too young for Robert Duvall's. June Carter Cash, both the actress and the character, seem under utilised. And at times it is possible to see the joins. The version I saw on video appears to be shorter than that shown originally in the US cinema. This pruning may account for some of these minor points.
Overall, The Apostle is highly recommended. Filmgoers without a strong interest in religious matters should find the characters, their treatment and the landscape in which they operate fascinating. Most people of a religious disposition should have little difficulty with the film as a film though they may not always like what they see from a religious viewpoint. 8.75.
Amen!
Engaging and skilled, but lacking
Rumples9 February 1999
I had heard many good things about this film, not the least of which was Robert Duvall's performance. While Mr Duvall is a very skilled performer, and I don't think I've ever seen a part he didn't do brilliantly, this attempt at filling the entire credits with his name (not to mention monopolising the screen) fell just a bit short of brilliance. It is a fascinating tale, beautifully filmed and cleverly portrayed, but it doesn't quite make the leap to classic. The portrayal of a flawed man is good, but the portrayal of the saintly man seems lacking. The supporting cast is good, but often seemed unnecessary to the story as the central character hordes all the meaningful action. Even the promising ex-wife character doesn't get the exposure she needed. I watched the entire movie and was impressed by it all, but I walked away uneffected. Worth a watch but wait for video. My vote 7/10 (It would have been a 7.5 if possible).
Vast....Duvall strikes gold with 'Sonny'
buzznzipp19957 February 2007
Written and directed by Roberty Duvall, I saw on entertainment T.V. in an interview that Robert even put millions of his own dollars into the 'making' of this. Propelling, is just the intro to this superbly crafted, story of doing the 'Gospel' your way. This shows me, many with good intentions can go almost terminally wrong.
I was sitting watching this on cable at the hotel, when my wife at that time, would not let me go out with her that morning on her route in Sierra Vista. It wasn't that I would get in the way of her talking to the doctors on her pharmaceutical rounds, due to the fact that she had already ask me to go with her a couple times before and I knew how things shake out with it, it was that she was having an affair with a co-worker and needed to give him a private long distance call, from a pay phone. At any rate, this was probably one of the most upending and unsettling and touching films I had seen in years. It was good that I stayed and watch Duvall's story of betrayal and violence. I came to a better grip with the circumstances that I was in, believe it or not. When he becomes E.F. the Apostle, you can see he seems starting to come apart, just before it happens. There is a much mis-gilded thought life that he has when he boldly steps up and decides that it's better to blame God than to 'take responsibility' for his very own misconduct and rage trouble. Farrah Fawcett provides an aging but provocative ex-wife that can't take the 'jambing' effect that Sonny seems to boldly posses. I.e. the baseball field assault on his ex's new man. It seems that at the end of the assault he just disconnected and said "let's go home now." As if whatever he does, even when totally wrong, he can justify to himself despite the damaged inflicted on anything, or anyone else that is around him then.
Then there is the scene at the church with Billy bob's character and they quickly end up in a brawl on the side of the church, while the deacons look on. But that was, what that character of Billy-Bob's needed to respect a man of God. A strong man. A wimp couldn't have probably reached him in the condition he was in right there.
I have a lot of respect for Robert Duvall for taking and making something that wouldn't get muddled by Hollywood and it's sense of God. It was different. I got quite a large helping of calm and understanding after my wife had departed our life together. I think I learned even more about human nature and intentions, motives etc. It shows that even when people mess it up, there is always something on a sub-textual level, it's not always just 'Face value'. I am not a Billy Bob fan by the way, but even his character, that came to destroy Sonny's church, and ended up changing his own life in that process. Remember as well, even if he can 'justify' his own bad behavior, God did not let him go on and on, he had to be brought to 'Justice' himself. You can mock God but only for a little while. This film, definitely touched me and caused me to think deeper.
Thanks, IMDb.com....
I recommend this to those with discernment about life and people and especially the Bible. (*****)
I was sitting watching this on cable at the hotel, when my wife at that time, would not let me go out with her that morning on her route in Sierra Vista. It wasn't that I would get in the way of her talking to the doctors on her pharmaceutical rounds, due to the fact that she had already ask me to go with her a couple times before and I knew how things shake out with it, it was that she was having an affair with a co-worker and needed to give him a private long distance call, from a pay phone. At any rate, this was probably one of the most upending and unsettling and touching films I had seen in years. It was good that I stayed and watch Duvall's story of betrayal and violence. I came to a better grip with the circumstances that I was in, believe it or not. When he becomes E.F. the Apostle, you can see he seems starting to come apart, just before it happens. There is a much mis-gilded thought life that he has when he boldly steps up and decides that it's better to blame God than to 'take responsibility' for his very own misconduct and rage trouble. Farrah Fawcett provides an aging but provocative ex-wife that can't take the 'jambing' effect that Sonny seems to boldly posses. I.e. the baseball field assault on his ex's new man. It seems that at the end of the assault he just disconnected and said "let's go home now." As if whatever he does, even when totally wrong, he can justify to himself despite the damaged inflicted on anything, or anyone else that is around him then.
Then there is the scene at the church with Billy bob's character and they quickly end up in a brawl on the side of the church, while the deacons look on. But that was, what that character of Billy-Bob's needed to respect a man of God. A strong man. A wimp couldn't have probably reached him in the condition he was in right there.
I have a lot of respect for Robert Duvall for taking and making something that wouldn't get muddled by Hollywood and it's sense of God. It was different. I got quite a large helping of calm and understanding after my wife had departed our life together. I think I learned even more about human nature and intentions, motives etc. It shows that even when people mess it up, there is always something on a sub-textual level, it's not always just 'Face value'. I am not a Billy Bob fan by the way, but even his character, that came to destroy Sonny's church, and ended up changing his own life in that process. Remember as well, even if he can 'justify' his own bad behavior, God did not let him go on and on, he had to be brought to 'Justice' himself. You can mock God but only for a little while. This film, definitely touched me and caused me to think deeper.
Thanks, IMDb.com....
I recommend this to those with discernment about life and people and especially the Bible. (*****)
Runaway
sol-18 November 2017
After assaulting his wife's lover in a fit of rage, an evangelical preacher flees his state, changes his name and starts a new church in this drama written by, directed by and starring Robert Duvall. There is something appealing in the way he manages to start life anew with a new chance to make a difference and Duvall saddles himself with a complex character who knows that running away is not right and yet who cannot help but preserve his own freedom. Duvall also does well making his rants and raves feel like they come from the heart, including scenes with his hands in the air, passionately asking Jesus for guidance. Duvall is not, however, very convincing as a man in hiding. The film might have benefited from some scenes with him paranoid and nervous, but what really feels odd is his choice to become a radio preacher in his new state, allowing his distinctive voice on the airwaves to be heard by anyone wanting to find him. The film also runs a little long with far too many subplots (e.g. Billy Bob Thornton and his bulldozer) for its own good. Duvall is divine in the lead role though and as writer-director, he does a magnificent job drumming up sympathy for his deeply flawed but well-meaning character.
Duvall's finest two hours
HAL9000-422 August 1998
Writer, director, actor: Duvall proves he has it all and with remarkable poise. Preacher "E.F." may appear to be over-the-top but he's the most human portrayal I've seen in many years. With this film, Duvall sets himself head and shoulders above the other actors of his generation.
Sonny (DuVall) is a modern day King David.
StanKnows23 April 2011
First: DuVall's performance and that of the other actors in this film were 100% on point. Hollywood's portrayal of Christianity is always done in a way that makes anyone who calls themselves a Christian look like dumb and/or wacko, the style of Christianity shown in this film would have been such a large target of this lopsided Hollywood viewpoint. BUT instead DuVall took great pains to portray these in a most realistic way. Without making fun or a mockery of this worship style.
Second: The message in this story is that Christians are not perfect but forgiven. Some of you may not understand that, given the candy coated image of what a Christian is. We all hate to show our weakness and Christians have it even harder when they try to pretend that they have no faults. The truth is we all fail in our attempt to be what God ask of us. But the true Christian seeks to do God's will and to follow his teachings. When we fail we are sorrowful and ask for help and forgiveness.
"Sonny" mirrors the biblical "King David". David was a "man after God's own heart", however David was far from perfect. He committed Adultery and killed the woman's husband to cover it up. He did many things that were not right but yet his heart was always to follow God.
There are many people who try to follow God but are discouraged buy failure and unfortunately in many cases get no support from the church in helping them back on the right track. These people turn there backs on God and the church, most never to return.
This is a good movie for Christians who are sometimes way to full of themselves to see what they have become. I know many "Christians" who have a hart for the appearance of Christian perfection but have no heart for doing what God ask of them. I can only pray that they see the difference before it is to late.
For those of you who may not call yourselves Christian, Try to understand the heart of "Sonny". Despite some of his actions "Sonny" has a heart for God. Also understand that true Christianity is a relationship with God and not just a bunch of rules. When you truly love someone you want to do what pleases them. You may not always succeed but it is your number one desire. And this is what this movie is about.
Second: The message in this story is that Christians are not perfect but forgiven. Some of you may not understand that, given the candy coated image of what a Christian is. We all hate to show our weakness and Christians have it even harder when they try to pretend that they have no faults. The truth is we all fail in our attempt to be what God ask of us. But the true Christian seeks to do God's will and to follow his teachings. When we fail we are sorrowful and ask for help and forgiveness.
"Sonny" mirrors the biblical "King David". David was a "man after God's own heart", however David was far from perfect. He committed Adultery and killed the woman's husband to cover it up. He did many things that were not right but yet his heart was always to follow God.
There are many people who try to follow God but are discouraged buy failure and unfortunately in many cases get no support from the church in helping them back on the right track. These people turn there backs on God and the church, most never to return.
This is a good movie for Christians who are sometimes way to full of themselves to see what they have become. I know many "Christians" who have a hart for the appearance of Christian perfection but have no heart for doing what God ask of them. I can only pray that they see the difference before it is to late.
For those of you who may not call yourselves Christian, Try to understand the heart of "Sonny". Despite some of his actions "Sonny" has a heart for God. Also understand that true Christianity is a relationship with God and not just a bunch of rules. When you truly love someone you want to do what pleases them. You may not always succeed but it is your number one desire. And this is what this movie is about.
Hollow
canadude21 January 2020
Beautifully acted by Duvall and select others, but also a morally repugnant, self-indulgent, and unironic take on the dangerous magnetism of violent charisma in organized religion, The Apostle is bloated and overrated. By a mile. This story of a violent, enraged preacher who searches for and finds redemption through very loud prayer and a Protestant work ethic is shot well, but shockingly skin deep.
Like in Duvall's main character, violence and religion are inextricably intertwined; and it's not that the movie doesn't explore the tension - it doesn't even acknowledge it. The preacher commits a crime, flees, and though this is apparently a redemption story, and the hero does indeed preach to a new community, there's no sign that he actually ever experiences any feelings of remorse or guilt for his crime. He simply moves on and does what he does best - move the flock with his singsong church performances. It's almost as if the movie assumes that if you preach, well, then you can get away with it - which would be a striking insight, if the movie had a trace of irony in it, but it's ultimately so terribly serious.
The movie's treatment of religion is also hollow - there's no effort here to mine the spiritual pull of the kind of churchgoing activities depicted here, no characters for the audience to hang on to whose lives are somehow filled by the spectacle of dance, song, and prayer. There are many people in church, but we don't really know any of them, or why they're there or what they get out of it. In the end, the movie requires us to be on its side for it to work - for us to believe that shouting in calibrated singsong rhythm is enough to wash away our mistakes, even if there's nothing behind the words.
Like in Duvall's main character, violence and religion are inextricably intertwined; and it's not that the movie doesn't explore the tension - it doesn't even acknowledge it. The preacher commits a crime, flees, and though this is apparently a redemption story, and the hero does indeed preach to a new community, there's no sign that he actually ever experiences any feelings of remorse or guilt for his crime. He simply moves on and does what he does best - move the flock with his singsong church performances. It's almost as if the movie assumes that if you preach, well, then you can get away with it - which would be a striking insight, if the movie had a trace of irony in it, but it's ultimately so terribly serious.
The movie's treatment of religion is also hollow - there's no effort here to mine the spiritual pull of the kind of churchgoing activities depicted here, no characters for the audience to hang on to whose lives are somehow filled by the spectacle of dance, song, and prayer. There are many people in church, but we don't really know any of them, or why they're there or what they get out of it. In the end, the movie requires us to be on its side for it to work - for us to believe that shouting in calibrated singsong rhythm is enough to wash away our mistakes, even if there's nothing behind the words.
True to Life
lgoshorn5 December 1999
My husband and I have loved this movie since we saw it the first four or five times. After recently buying a DVD and getting The Apostle in DVD we found a new since of excitement. The director's insights given have enriched the movie and given it deeper personality. Here is a few thoughts to help capture this wonderful creation
Eulis `Sonny' Dewey is a Southern Pentecostal Holiness Evangelist and Preacher from Texas living a seemingly happy life with his wife Jessie and his two `beauties' (children). Suddenly his flashy, hyped world comes apart: Jessie is having an affair with youth minister Horace. Sonny gets drunk, enraged and hits Horace with a baseball bat, putting him into a coma in which he later dies. Sonny escapes town, takes a new name, `The Apostle E.F.', and goes to Louisiana. He starts to work as a mechanic for local radio station owner, Elmo, and Elmo lets him preach on the radio. E.F. starts to preach everywhere: on the radio, on the streets, and with his new friend, Reverend Blackwell, he starts a campaign to renovate an old church. Along the way he wants to have an affair with Elmo's secretary `Toosie,' and all the time he is preaching, he knows his time is running out. His past sins are catching up with him and so is the law.
The character of Sonny is developed in every scene. Each scene reveals another complex part of Sonny's character. One scene will show his humility and the next shows his pride. These contradictions of, sanctification versus earthiness, generosity versus possessiveness, and open affability versus anger are developed to show the complexity in Sonny's character. Robert Duvall's sense of evil is simple and forgiving (things most all people deal with). Robert Duvall constantly explores how good a human can be and how much good he can do when `sold out' to God. His personal communication scenes with Jesus make his character seem vulnerable, open, and honest.
The Apostle is set in a Southern, God Fearing, Right Wing, Conservative, setting. Even though Sonny has had a `womanizing' problem in the past, the morality is certainly conveyed as an absolute and conservative religious morality. This is a community of a small group that belongs to Jesus and Sonny's `little church'. Since the Southern Pentecostal Church, containing both Blacks and Whites together is, not a stereotype, The Apostle is developing new territory in genre definition. The ideas of feminism or gay liberation are hardly understood in this rural religious Southern setting. Morality and fidelity are high on their social standards. However, overeating and gluttony are accepted weaknesses. Getting drunk is one weakness that most of the men have had in their younger rebellious days.
The charismatic, convincing, conniving, and calculating Sonny describes a most entertaining and flawed `Man of God'. The theme of an uneasy co-existence of the holy part of Sonny, with his flesh, is brought to film for the first time. The protagonist Sonny is the most authentic portrayal of a Southern Pentecostal Holiness Evangelist/Preacher with almost every other word being, `Praise the Lord,' `Hallelujah', `Amen,' `Thank you, Jesus,' which all come from his heart.
The other (earthly) side of Sonny is aptly convincing. Earthy examples are: his description of his womanizing to his wife, his drunken fight, (where he strikes his wife's lover with a baseball bat), and his cruelly dragging his wife off the ball field by her hair, and showing his obvious drunkenness, anger and cruelty when he blew up. Another subtle example is when he is doing his charismatic preaching on the radio, while the secretary is watching his intensity, and he follows it by preaching to her, (meanwhile, there is this calculating sales pitch with sexual sub-text between the two people).
A subtle but revealing example of Sonny's character is shown by Duvall's acting in two `sales-like, asking for the order' scenes. The first scene takes place where Sonny and the secretary have had several encounters and Sonny is trying to get into her life, house, and bedroom. After a couple of hot intense smothering kisses, Sonny keeps saying, `Come on now,' for his closing `pitch', to which she keeps answering, `Next time'. The other is in the closing scenes of the movie inside the `One Way Road to Heaven' church. Sonny and members are having an `altar call', and have been singing, `Softly and Tenderly Jesus is Calling', and as a final plea to a parishioner to accept Jesus into his life, Sonny keeps using his sales phrase `Come on now!' Even though the words are previously used for his earthly desires, in this scene he captures his passion to perfection and his tears are genuine as he pleads with all his heart.
In my mind, I can describe Robert Duvall's Academy Award deserving character acting as a poignant, perplexing, portrayal of a paradoxical, problematic, passionate, preacher. Even though I could also choose Jack Nicholson's role in `As Good As It Gets'(who won the Oscar), the depth and breadth of Nicholson's acting don't measure up to the job done by probably America's greatest actor, Robert Duvall. I believe this technique of documentary style filmmaking places the burden of carrying the movie on the acting and solely on Robert Duvall's Academy Award winning shoulders, and he delivers
Eulis `Sonny' Dewey is a Southern Pentecostal Holiness Evangelist and Preacher from Texas living a seemingly happy life with his wife Jessie and his two `beauties' (children). Suddenly his flashy, hyped world comes apart: Jessie is having an affair with youth minister Horace. Sonny gets drunk, enraged and hits Horace with a baseball bat, putting him into a coma in which he later dies. Sonny escapes town, takes a new name, `The Apostle E.F.', and goes to Louisiana. He starts to work as a mechanic for local radio station owner, Elmo, and Elmo lets him preach on the radio. E.F. starts to preach everywhere: on the radio, on the streets, and with his new friend, Reverend Blackwell, he starts a campaign to renovate an old church. Along the way he wants to have an affair with Elmo's secretary `Toosie,' and all the time he is preaching, he knows his time is running out. His past sins are catching up with him and so is the law.
The character of Sonny is developed in every scene. Each scene reveals another complex part of Sonny's character. One scene will show his humility and the next shows his pride. These contradictions of, sanctification versus earthiness, generosity versus possessiveness, and open affability versus anger are developed to show the complexity in Sonny's character. Robert Duvall's sense of evil is simple and forgiving (things most all people deal with). Robert Duvall constantly explores how good a human can be and how much good he can do when `sold out' to God. His personal communication scenes with Jesus make his character seem vulnerable, open, and honest.
The Apostle is set in a Southern, God Fearing, Right Wing, Conservative, setting. Even though Sonny has had a `womanizing' problem in the past, the morality is certainly conveyed as an absolute and conservative religious morality. This is a community of a small group that belongs to Jesus and Sonny's `little church'. Since the Southern Pentecostal Church, containing both Blacks and Whites together is, not a stereotype, The Apostle is developing new territory in genre definition. The ideas of feminism or gay liberation are hardly understood in this rural religious Southern setting. Morality and fidelity are high on their social standards. However, overeating and gluttony are accepted weaknesses. Getting drunk is one weakness that most of the men have had in their younger rebellious days.
The charismatic, convincing, conniving, and calculating Sonny describes a most entertaining and flawed `Man of God'. The theme of an uneasy co-existence of the holy part of Sonny, with his flesh, is brought to film for the first time. The protagonist Sonny is the most authentic portrayal of a Southern Pentecostal Holiness Evangelist/Preacher with almost every other word being, `Praise the Lord,' `Hallelujah', `Amen,' `Thank you, Jesus,' which all come from his heart.
The other (earthly) side of Sonny is aptly convincing. Earthy examples are: his description of his womanizing to his wife, his drunken fight, (where he strikes his wife's lover with a baseball bat), and his cruelly dragging his wife off the ball field by her hair, and showing his obvious drunkenness, anger and cruelty when he blew up. Another subtle example is when he is doing his charismatic preaching on the radio, while the secretary is watching his intensity, and he follows it by preaching to her, (meanwhile, there is this calculating sales pitch with sexual sub-text between the two people).
A subtle but revealing example of Sonny's character is shown by Duvall's acting in two `sales-like, asking for the order' scenes. The first scene takes place where Sonny and the secretary have had several encounters and Sonny is trying to get into her life, house, and bedroom. After a couple of hot intense smothering kisses, Sonny keeps saying, `Come on now,' for his closing `pitch', to which she keeps answering, `Next time'. The other is in the closing scenes of the movie inside the `One Way Road to Heaven' church. Sonny and members are having an `altar call', and have been singing, `Softly and Tenderly Jesus is Calling', and as a final plea to a parishioner to accept Jesus into his life, Sonny keeps using his sales phrase `Come on now!' Even though the words are previously used for his earthly desires, in this scene he captures his passion to perfection and his tears are genuine as he pleads with all his heart.
In my mind, I can describe Robert Duvall's Academy Award deserving character acting as a poignant, perplexing, portrayal of a paradoxical, problematic, passionate, preacher. Even though I could also choose Jack Nicholson's role in `As Good As It Gets'(who won the Oscar), the depth and breadth of Nicholson's acting don't measure up to the job done by probably America's greatest actor, Robert Duvall. I believe this technique of documentary style filmmaking places the burden of carrying the movie on the acting and solely on Robert Duvall's Academy Award winning shoulders, and he delivers
A Fantastic Film, Regardless of One's Faith Perspective
caseynicholson8 December 2014
When this movie came out in 1997, I was a young man who had just found his way into church for the first time in my adult life. I specifically was someone who had always been turned off to church and faith because I had grown up in a place where often times churches were charismatic, a style that never interested me very much.
When I was nineteen I started attending a Presbyterian church that was a whole different atmosphere than what I had always known. The service was very structured and organized, and a long story short I found myself at home in a place with a much more reserved style of worship experience.
But with that going on in my personal life at the time, it made it difficult for me to want to see "The Apostle", a film that to me looked like it was promoting the style of religion that I had struggled with all my life. So I never saw the film when it was in theaters or while it was still popular.
Fast forward to 2014, and I've matured a fair bit. I still have my own preferences about church and religion, but I am not as judgmental as I once was. And so with that in mind, I sat down to watch this film on Netflix a couple of weeks ago.
What I found in "The Apostle" was a delightful film, one that is evangelical in its own way, and one that certainly does portray the charismatic church style that I struggled with so much in my youth. But whereas in 1997 I might have had a visceral reaction to that, in 2014 I was able to sit down and watch the film and view it as art. And boy am I glad that I did.
Robert Duvall gives a dynamic performance in this movie. It's impossible to see him as himself, because he completely becomes the character. As the movie progresses Duvall has several extended scenes where he's preaching in church, and the performance is amazing. Regardless of whether one appreciates the Christian faith or the charismatic movement, Duvall makes the viewer believe that he is the preacher. It's a bit eerie in a sense, and some might find it uncomfortable given the subject matter--but then you realize that this is the same guy from "The Godfather" movies, and that's when it hits you that this is an amazing feat of acting in a well made film.
All that said, "The Apostle" may be a bit foreign and hard to watch for some people who have an averse reaction to matters of faith or who are uncomfortable with Christianity. But even those folks should be able to appreciate the film for its artistic expression, if they can just get past the religious element (which is of course the dominant theme of the film).
If you are able to appreciate the film, either as a work of art or as an evangelical film in its own right, then you may agree that it deserves a high rating. Thus my 9/10 stars.
When I was nineteen I started attending a Presbyterian church that was a whole different atmosphere than what I had always known. The service was very structured and organized, and a long story short I found myself at home in a place with a much more reserved style of worship experience.
But with that going on in my personal life at the time, it made it difficult for me to want to see "The Apostle", a film that to me looked like it was promoting the style of religion that I had struggled with all my life. So I never saw the film when it was in theaters or while it was still popular.
Fast forward to 2014, and I've matured a fair bit. I still have my own preferences about church and religion, but I am not as judgmental as I once was. And so with that in mind, I sat down to watch this film on Netflix a couple of weeks ago.
What I found in "The Apostle" was a delightful film, one that is evangelical in its own way, and one that certainly does portray the charismatic church style that I struggled with so much in my youth. But whereas in 1997 I might have had a visceral reaction to that, in 2014 I was able to sit down and watch the film and view it as art. And boy am I glad that I did.
Robert Duvall gives a dynamic performance in this movie. It's impossible to see him as himself, because he completely becomes the character. As the movie progresses Duvall has several extended scenes where he's preaching in church, and the performance is amazing. Regardless of whether one appreciates the Christian faith or the charismatic movement, Duvall makes the viewer believe that he is the preacher. It's a bit eerie in a sense, and some might find it uncomfortable given the subject matter--but then you realize that this is the same guy from "The Godfather" movies, and that's when it hits you that this is an amazing feat of acting in a well made film.
All that said, "The Apostle" may be a bit foreign and hard to watch for some people who have an averse reaction to matters of faith or who are uncomfortable with Christianity. But even those folks should be able to appreciate the film for its artistic expression, if they can just get past the religious element (which is of course the dominant theme of the film).
If you are able to appreciate the film, either as a work of art or as an evangelical film in its own right, then you may agree that it deserves a high rating. Thus my 9/10 stars.
Sonny's one-sided talks with God are worth the price of admission
minnow-626 July 2000
`The Apostle'. **1/2. (1997, USA, PG-13. Directed, written by, and starring Robert Duvall with Farrah Fawcett, Billy Bob Thornton). Euliss "Sonny" Dewey (Duvall) is the Apostle E.F. He's a rainmaker, music man, and seller of dreams. The dream in `The Apostle' is a one way road to heaven. If you get on the plane with Sonny, you'll fly past the moon, the planets, and the stars, and go straight to heaven. Say, `Amen!' Sonny's story begins in childhood when his nanny takes him to church with her. Sonny gets the call when he's twelve and there's no stopping him. He's God's servant. Sonny ends up in Texas. He's head of a large urban church, married with two kids, and just as much a sinner as a saint. His wife (Fawcett) is a preacher in the church and also a part time sinner. Her favorite sin is sleeping with the assistant pastor. Sinner Sonny yields to his rage and uses a baseball bat to send the assistant pastor to his Lord. Sonny has to leave town in a hurry and find a new flock and a place to hide from the Texas Rangers. He makes it to Louisiana. There he finds a flock without a shepherd and like all good rainmakers he helps them build a dream. He starts a radio show. He rebuilds a church in the wild wood. He fixes the old town bus and personally goes out and brings people to church on Sunday morning. He even gets the town bully (Thornton) to lay down his arms and come to Jesus. Unfortunately `The Apostle' the movie doesn't know when to say `Amen.' More accurately it's like going to Sunday school, church, and staying for Vespers. The preamble is longer than the movie. Unlike other rainmakers in the movies, Sonny doesn't just get off the train or show up one day in the middle of a drought. We have to wait through too much of Sonny's personnel life before he gets to his lost flock in Louisiana. I really liked the last half of this movie. Duvall's acting is excellent and worth seeing. And Sonny's one-sided talks with God are worth the price of admission. A mixed review, but overall I recommend seeing `The Apostle.'
Do as I say; not do as I do.
michaelRokeefe9 March 2002
Written and directed by Robert Duvall who stars in this drama about a fervent, volatile Pentecostal preacher who is struggling with his own personal demons. Duvall is dynamic as the colorful 'Sonny' Dewey. Less than interesting in support are Farrah Fawcett and Billy Bob Thornton. The subject matter did not flesh out as shocking as it was probably intended. Duvall is impressive in the fact that he can work so hard and make it look easy. Outside of finding June Carter Cash annoying, I found THE APOSTLE to be very interesting and a good test of where you place your sympathy, compassion and faith.
hats off to a genius!!
rdean19087 July 2013
i waited to see this movie. i guess i was afraid. i watched "the apostle" tonight! it gripped me from the first turn of the reels. i have always adored robert duvall! "convicts" is also one of his best roles! and, let us not forget "lonesome dove"! i could not believe the fact that he also directed this movie, as well. i know it was made back in 1997, but, i just saw it tonight. robert duvall-you are one of the finest actors to ever come out of the back woods of this great country of ours! the tragedy is you did not make more movies in which you were also given the chance to direct! i take my hat off to you, fine sir! hats off, gentlemen, to a genius!!
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