The most enchanting thing this comedy has to offer is the cast—the performers (De Niro, Penn and Mrs. Moore) make very good roles.
De Niro got an opportunity here to cultivate his already obnoxious screen persona as a nervous, jumpy, sharp and (at least verbally) violent character, of copious irascibility; his interactions with Mgr Nogulich are delightful, when De Niro threatens him and wins his place in the procession. Penn shines at times; his festive sermon, the 'empty pocket sermon', is a bit disappointing, but that's the script.
Mrs. Moore is the courageous, loudmouthed and no—nonsense prostitute.
The touches of mysticism belong to the pop religiosity and ready—made sentimentalism (De Niro reaching to Mary in the waterfall; or the previous miracles, with the shoes and the tears), but nevertheless the comedy is never offensive; as you know, the comedy is a remake, so I credit the older script for taking this mild view of the religious life. I also liked the fact that WE'RE NO ANGELS is an amusement, not meant to be 'relevant' in any other way—merely a snappy comedy. The pace is everything, otherwise the characters are wholly _bidimensional and conventional.
De Niro got an opportunity here to cultivate his already obnoxious screen persona as a nervous, jumpy, sharp and (at least verbally) violent character, of copious irascibility; his interactions with Mgr Nogulich are delightful, when De Niro threatens him and wins his place in the procession. Penn shines at times; his festive sermon, the 'empty pocket sermon', is a bit disappointing, but that's the script.
Mrs. Moore is the courageous, loudmouthed and no—nonsense prostitute.
The touches of mysticism belong to the pop religiosity and ready—made sentimentalism (De Niro reaching to Mary in the waterfall; or the previous miracles, with the shoes and the tears), but nevertheless the comedy is never offensive; as you know, the comedy is a remake, so I credit the older script for taking this mild view of the religious life. I also liked the fact that WE'RE NO ANGELS is an amusement, not meant to be 'relevant' in any other way—merely a snappy comedy. The pace is everything, otherwise the characters are wholly _bidimensional and conventional.