The film, a bleak and dour affair that seems filmed mostly under gray, glowering skies, stars Lothaire Bluteau in the central role of young Father Laforgue. Bluteau’s name may not ring a bell, but if you saw "Jesus of Montreal" you will recognize him immediately as the young actor who played the title role, gaunt and intense. In this film, he undertakes a long and arduous journey in winter, guided by the Algonquins, threatened by the Iroquois. It is a torturous experience, and "Black Robe" visualizes it in one of the most realistic depictions of Indian life I have seen.
The architectural details of the Indian dwellings, their methods of hunting and food procurement, the way they used absolute cooperation and trust of each other as a weapon against the deadly climate - these are all made clear in the movie. It also becomes clear that the Indians had their own religious and belief systems already in place, and that none of them had much use for Jesus and the other gifts of Christianity. The most pathetic character in the movie is a "converted" Indian, whose crucifix around his neck represents not a leap of faith, but an accommodation of convenience with those who could give him what he wanted.
The first contacts between North American Indians and Europeans were probably a great deal more like those depicted in "Black Robe" than like the stirring adventures in "Dances with Wolves." Both sides were no doubt motivated much more by matters of religious belief and personal destiny than by a desire to get to know one another.
One of the achievements of "Black Robe," which is based on research and a novel by Brian Moore, is that it re-creates a time when Christians were dogmatic and unswervingly convinced of their rightness; today, when we talk of the "fanaticism" of religions like Islam, we forget that the modern religions of the West, so diluted by psychobabble, were once fierce and righteous enough to send men halfway around the world seeking martyrdom.
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