Revisiting Sainthood
Revisiting Sainthood
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Las que no iban a salir: A series of old essays that deserve some light.
This essay explores Romero, a film by John Duigan depicting the story of Oscar Romero of El Salvador.
Romero's Story
Romero's Story
Oscar Romero does not quite follow the typical depiction of sainthood. His story works to refashion how sainthood can be expressed in more contemporary settings and circumstances. The film depicts sainthood as a responsibility and guardianship of Church followers, rather than a life of docility and purity. It challenges the notion of saintliness being a lifestyle and presents sainthood as a challenge to undertake. The film’s portrayal of Romero further underlines this notion by guiding the viewer through his journey from a non-political archbishop to an outspoken clergyman of the common people. His character and journey show the other side of Sainthood—a figure of action and not of silence when it comes to upholding the values of the Church. Yet, with these actions comes the imperfection of humanity. Romero was not perfect with every decision he made or how he navigated situations, but the effort toward abiding by what God may have wanted warrants another look at what it means to be “holy.”
To fully appreciate the message of sainthood the film conveys, revisiting the more common notion of what sainthood consists of and briefly examining the political climate of Romero’s time is essential. Sainthood often brings to mind images of a docile, tranquil, and divine cast of beings who happen to be human as well. Their distinctive qualities sets them apart from the rest of believers, be it their unshakeable faith and adherence to Church-sanctioned virtues or a particular contribution to the world; figures such as Mother Teresa or St. Thomas Aquinas are prime examples. Either way, very few found their saintliness in directly challenging military dictatorships.
Yet when Romero took up the role of Archbishop, El Salvador was on the brink of civil war. As the demands of working class people were being repressed through violence, local priests began to aid those who constituted a majority of their following: the poor. The role of the Church as an institution during this time was very limited and practically neutral toward the gravity of the situation, opting to keep out of political affairs to appease the hostile government. In many ways, this cowering before a government only stresses the trailblazing actions Romero undertook as archbishop, as well as the disconnect between Church hierarchy and its followers. This is alluded to during the scenes where Romero easily intermingles with the elite class and commands a degree of respect from them, yet his friend, Father Rutilio—a priest who directly works with the poor—is not treated so favorably by the elite. This class warfare is brought into the spotlight as Romero voices his opposition to the government regime, causing a rift between bishops and the elite class, but garnering admiration by the rest of the Salvadorian populace.
The Politics of Practice
The Politics of Practice
Contrasting Romero’s politically-charged movement with the older conception of what it means to be a saint, it leaves much to be explored and many notions to be questioned. The Church’s apolitical attitude despite the persecution of their followers, be it for religious reasons or otherwise, reflects the belief of impartiality as a basis for holiness. To take up a political agenda would stir controversy, which would detract from the Church’s mission of spreading the message of God and Jesus’ teachings. Romero challenges this impartial worldview, claiming the Church should follow through on Jesus’ teachings by speaking against injustices and advocating for the poor. The film brings to light the Church’s unrealistic expectation of remaining nonpartisan in a world where any value can be politicized. Likewise, Romero’s “political” stance on behalf of the poor—a view connected to Biblical teachings—sheds light on the absurdity of ignoring the layered relations between political and moral beliefs. The film showcases the violence done to villages and poor families, such that calling an end to such chaos seems far from political, but simply a basic expression of human compassion. This is where Romero steps into his role as a saint and upholds teachings the Church has neglected to practice.
Holy as Human
Holy as Human
Romero’s story breaks many conceptions of sainthood, most notably, the idea of sainthood as an embodied state rather than a process. The film does well in detailing the human journey toward sainthood: shifts in outlooks, conversions, and hesitation. Rather than portraying Romero as a static character who had always fought for the poor, depicting him as the neutral church official before his transformation into a political advocate, introduces an overlooked aspect of sainthood—human volatility. Saintliness is often confused with being a virtuous but static being, since popular narratives often focus on how the Saint holds onto their virtues despite their immediate circumstances. In Romero’s case, the circumstances transforms how he interprets these virtues and Biblical teachings. His “conversion” from an indifferent clergyman into an outspoken defender of the poor is a pivotal moment in the film which alludes to this more wholistic idea of sainthood. It is a state as holy as it is human, marked by Romero’s instances of grief, joy, and uncertainty alongside his unshaken faith that God’s love will triumph over injustice. The desecration of a church altar by a machine gun was a notable scene, as it showed Romero’s falter under the barrel of a gun, but leads to the powerful moment of him gathering followers to hold mass in the Church, despite the occupation of the military. It echoes the story of Daniel in the Lion’s Den, where the clash between worldly threats and God’s protection manifests.
The film not only explores sainthood through Romero’s personal story, but also his relationship with others. Another element of sainthood involves not just the internal struggle of the saint, but how they navigate external challenges, be it bloodshed or bonds. Romero’s entire external journey is defined by the relationships he maintains with the other bishops, the government, his followers, and the elite class. He presents different sides of himself in each interaction, but they all culminate in furthering his advocation for the poor. One striking example is his refusal of giving a private baptism for his upper-class friend Arista Zelada, who is angered at the prospect of sharing the special day with “indios” or natives. Romero does not let personal relations interfere with how Christian teachings are meant to be enforced, such as the equality of all of God’s creations.
Earthly Titles and Divine Duty
Earthly Titles and Divine Duty
Beyond his relations with earthly dwellers, Romero’s relationship with God, and subsequently the holy, shifts in the wake of violence and oppression. As a devout Catholic, his notions of a good Archbishop and a good believer are challenged when his friend Father Rutilio is murdered. His role as an Archbishop and as a believer seemingly conflict, yet we see Romero decide to prioritize his role as God’s follower more than the earthly title of Archbishop. The film tackles the conflict between human values and holy duties and Romero is able to reconcile these clashing demands by altering his perception of God. Catholic beliefs asserts that God can be found in everything, manifesting through the mysterious or the mundane. Likewise, Romero’s actions harkens back to this idea of holiness being present in the midst of human suffering—perhaps even as an opportunity to reveal the pockets of holiness found in the everyday. Rather than let the poor suffer in the hopes heaven will recompense them, Romero proclaims that upholding justice in this life is the purpose of the Church’s presence. With this, Romero’s sainthood is defined not by his distance from the worldly, but through his understanding that the world is valuable due to being a creation of God.
In these narratives of holy figures, the connotations and presumptions surrounding “holy” overshadows the fact these figures are as human as any other. The separation between saints and humans is understandable but nonetheless, a limited analysis. The film emphasizes Romero’s humanity over his saintliness by blurring the qualities of each. Romero also demonstrates that the path toward sainthood is not necessarily intentional, but a result of upholding the teachings of Jesus regardless of who is challenging them. Romero displays many different emotions throughout the film, reminding the viewer that he is human, yet he channels his human emotions in a productive way that differentiates him from the typical human reaction. His actions define sainthood as a challenge to undertake rather than a static way of being. In this sense, Romero’s story reveals an understanding that human qualities are not automatically unholy, likewise, holiness is not out-of-reach for humans because it is present in the everyday. The interesting aspect of all these concepts is that they are not revolutionary to the Catholic imagination, instead it demands for the reimagination of Catholic practice.
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