Broken Vows Reviews

This 1987 TV movie was released to the home video market in 1994 on the strength of Tommy Lee Jones's escalating big-screen popularity. A combination whodunit and morality play, BROKEN VOWS is a lackluster piece, enlivened by the potent performance of Jones as a Catholic priest who questions his calling. Father Joseph McMahon (Jones) witnesses a young artist's death from multiple stab wounds. He is awed by the man's grace in surrendering his life to God without fear or fight. The incident haunts McMahon, and he endeavors to learn more about the dead man, who is eventually identified as Stuart Chase (David Straithairn). Though Chase lived under several aliases and left several women brokenhearted, he is repeatedly eulogized as a kind of spiritual savior. Indeed, in his final moments, a coherent Chase could have fingered his killer, but instead he lectures McMahon on the futility of vindictiveness. McMahon teams with Chase's jilted lover, Nim Fitzpatrick (Annette O'Toole), to investigate the murder. An early suspect is Dan Phelan (Peter Crombie), whose wife (Frances Fisher) was one of Chase's admirers. The trail eventually leads to a gallery owner (Jean De Baer) whose money couldn't buy Chase's love. With each encounter, Nim and McMahon are drawn closer together and McMahon is tempted to break his vow of chastity. Nim flirts shamelessly and eventually McMahon succumbs to her charms. The morning after, he announces his intention to repent and beg forgiveness for his sins. After the murder is neatly solved, Nim tries to resume the relationship, but McMahon refuses, insisting on a separation while he ponders his future. His love for Nim is not McMahon's only contention: he also questions the Catholic Church's position on homosexuality, and his usefulness to his parishioners. Despite the gentle reasoning of Monsignor Casey (Milo O'Shea), McMahon leaves the priesthood. Missing from the murder mystery is any element of danger or suspense. The novice sleuths circumvent the police and poke around in the dead man's affairs without evident trepidation, and their confrontation with the confessed killer is more like a tea party than a showdown. The flimsy resolution leaves many questions unanswered. Much more compelling is the examination of forbidden love and religious indecision. In a restrained performance befitting his introspective character, Jones ably conveys the holy man's inner conflict as he struggles with temptation, guilt, faith, and love. O'Toole is a surprising choice as the temptress, but she earns audience support by film's end. Standouts among the supporting cast are O'Shea, quite convincing as a sympathetic Monsignor, and M. Emmet Walsh, as a jeering detective. The overall impression is that of first-rate players making the best of second-rate material. (Violence, sexual situations, adult situations.)