Film Review: The Mission (1986)

Ennio Morricone, one of the most revered and influential figures in film music history, has composed some of the most iconic soundtracks in cinematic history- Over his long and prolific career, he has created a vast repertoire of scores, some of which are considered his masterpieces, while others, though less celebrated, remain significant contributions to the art form. It is ironic, yet fitting, that one of Morricone’s most universally acclaimed works—The Mission—was selected as the soundtrack for a film that, despite its artistic ambition, is not typically regarded as worthy of his soundtrack's reputation.

The plot of The Mission is loosely based on the real events of the 1750s in the remote jungle regions of what is now Paraguay, Brazil, and Argentina. The film centres on Father Gabriel, a Jesuit missionary played by Jeremy Irons, who ventures into the wilderness to convert the fierce Guarani tribes to Christianity. He succeeds and establishes a network of missions that provide education, protection, and a semblance of order in a land threatened by Portuguese and Spanish settlers, as well as slave traders. Central to this mission is Captain Mendoza, a mercenary played by Robert DeNiro, who initially joins the Jesuits after killing his half-brother Felipe (Aidan Quinn) over a love affair with Carlotta (Cherie Lunghi). Mendoza’s act of penance is joining Father Gabriel and the mission. The Jesuits’ missions become a battleground for survival when Spain and Portugal sign a treaty that redefines territorial boundaries, placing the missions under Portuguese control. The new rulers demand the closure of the missions, and the Jesuits, led by Father Gabriel, resist. The film culminates in a clash between the Jesuits, the Guarani, and a Portuguese expeditionary force, with the Jesuits ultimately choosing to protect their mission rather than surrender to colonial authority.

The film’s production team is a blend of notable names, each contributing to its epic, historical tone. Screenwriter Robert Bolt, best known for his work on David Lean’s Lawrence of Arabia (1962), brings a sense of grandeur and historical authenticity to The Mission. Bolt’s screenplay, while not as enduring as Lean’s, mirrors the epic scale and mythic quality of Lean’s films, which are set in distant, exotic historical periods with large, larger-than-life characters. The film’s setting, the 18th-century South American jungle, is a distant but recognisable period, with the Jesuits’ mission serving as a microcosm of colonial encounters, religious conflict, and the clash between indigenous cultures and European imperialism. Bolt’s script, while occasionally heavy-handed in its moralising, is a testament to his ability to craft a narrative that is both historically grounded and thematically resonant.

Director Roland Joffe, who had already gained critical acclaim for The Killing Fields (1986), sought to infuse The Mission with the same epic, sweeping quality that defined his earlier work. Joffe’s vision was ambitious, and his collaboration with cinematographer Chris Menges resulted in a visually striking film that made use of real locations in Argentina and Colombia, including the iconic Iguazu Falls. The film’s opening scene, which features a dramatic, almost mythical depiction of the falls, is a masterclass in visual storytelling, capturing the grandeur and raw power of the natural world. Joffe’s use of actual indigenous extras in minor roles added an authentic, almost tactile layer to the film, enhancing its sense of historical immersion. The film’s cinematography, which earned Menges his second Oscar, is a testament to Joffe’s ability to translate a grand narrative into visual language.

However, The Mission diverges from the grand, politically charged epics of David Lean in one crucial way: its producer, David Puttnam, was a man of left-wing convictions who sought to use the film as a parable for contemporary international politics. The film’s narrative, while loosely based on historical events, is a critique of Western imperialism, particularly the United States under President Reagan. Puttnam’s decision to frame the Guarani War as a metaphor for the exploitation of Third World countries by Western powers is a bold and provocative choice. The film takes a sympathetic view of the Jesuits, portraying them as enlightened, almost messianic figures who stand up for the rights of the indigenous people, very much like proponents of 20th Century Liberation theology in South America. This perspective, while thematically bold, is at odds with historical accuracy. The Jesuits, faced with the threat of suppression by European courts, ultimately obeyed orders and did not join the Guarani in their resistance, a fact that the film glosses over. The film’s portrayal of the Jesuits as defenders of the oppressed, rather than as part of a colonial system, is a deliberate artistic choice, but it risks alienating viewers who are more familiar with the complexities of historical events.

The film’s reception was mixed. While it won the Palme d’Or at the Cannes Film Festival, it failed to translate its critical acclaim into box office success. This disconnect between artistic merit and commercial viability is a recurring theme in film history, and The Mission is no exception. Over time, the film’s flaws have become more apparent, especially in the context of shifting geopolitical landscapes. The film’s themes, which were once seen as progressive, are now viewed with more scrutiny, particularly in light of the "White Saviour" trope and the portrayal of the Jesuits as saviours rather than part of a colonial system. Some critics have also pointed out the film’s use of the "heroic martyr" archetype, in which characters like Father Gabriel and Mendoza sacrifice their lives for the sake of the indigenous people. While this is a powerful narrative device, it can be seen as a form of romanticised, one-sided portrayal of the conflict.

One of the most glaring flaws in The Mission is the introduction of Captain Mendoza as a secondary character. The film’s focus on Father Gabriel and the Jesuits is overshadowed by Mendoza’s subplot, which, while providing a moment of moral complexity, feels like a commercial addition. Mendoza’s decision to kill his brother and then find redemption is a melodramatic, underdeveloped arc that seems to be a convenient excuse to include Robert DeNiro, an Oscar-winning actor, in the film. DeNiro’s performance is solid but unremarkable, lacking the depth or gravitas of Irons’ portrayal of Father Gabriel or Ray McAnally’s cynical Cardinal Altamirano.

Joffe’s direction, while ambitious, falters in the film’s final act. The climactic battle between the Guarani and the Portuguese is presented as a chaotic, almost nonsensical sequence, with the Jesuits’ efforts to protect their mission coming to naught. The film’s ending, which sees the protagonists die, the natives massacred, and the missions destroyed, is a bleak and depressing conclusion that fails to resonate with the film’s earlier, more hopeful tone. The film’s director misses the opportunity to create a powerful, emotionally resonant climax, and the final scenes, while visually striking, are underwhelming in their impact.

Despite these flaws, The Mission remains a film that is worth watching for its ambition, its use of Morricone’s music, and its attempt to address complex historical and political issues. The film’s soundtrack, composed by Ennio Morricone, is a masterpiece in its own right, with its sweeping, melancholic melodies capturing the essence of the story and the era. The music, which has become a cultural touchstone, is a testament to Morricone’s ability to elevate a film’s emotional and historical resonance. However, viewers should be warned that the film’s soundtrack is a key element of its appeal, and those who have heard it beforehand may find the film’s narrative lacking.

RATING: 6/10 (++)

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