The film opens with a group of clergy discussing Mother Seton's cause for canonization. The Postulator for her cause (played by John Forsythe) still needs to produce one more miracle in order for her to be canonized. That miracle, he will later argue, is the fruit of her life's work: the Catholic parochial school system in the United States. Looking through the notes he has compiled on her case, the Postulator begins reminiscing on her life. The film relies too heavily on this narrative device at times, breaking the cardinal rule of show-don't-tell. Some important moments in her life, including the death of her daughter, are revealed via Forsythe's voice-over and glossed over in one or two brief scenes.
Nevertheless, the film does a pretty fair job of retelling her life story. After loosing her husband to tuberculosis, she finds herself poor and destitute with four young children to take care of. The Fellichi's, an Italian family that Elizabeth and her husband were staying when they went in Italy hoping the climate would improve his health, offers her financial and emotional support. Inspired by their generosity she begins to form an attraction to Catholicism, despite her strict Episcopalian upbringing. Returning to America, she starts a school for young girls but, after becoming a Catholic, she finds herself without any students, being looked on with suspicion by the largely Protestant, anti-Catholic community in her home state.
Archbishop John Carroll (Lorne Greene) invites her to start a school for girls in Baltimore and found a religious congregation, based on the rule of the Sisters of Charity (founded by Saint Vincent de Paul), to run the school. Though reluctant at first because of her obligations to her children, she eventually agrees, on the condition that her children remain under her care and that the school be free-of-charge for the poor. Though she is successful at first, this is not the end of her troubles. Her first school house is primitive and provides little shelter from the winter's cold. Later, her faith is challenged when she looses both of her daughters to sickness. But through it all she perseveres.
The film does take some liberties with the real story. The romantic attraction between her and Fillipo Fillici (Rossano Brazzi) is, as far as I'm aware, an invention but, other then that, the film stays true to the saint's inspiring story. Elizabeth's devotion to the Blessed Virgin is not portrayed, though the film does emphasize her deep love for Jesus in the Blessed Sacrament and her devotion of St. Joseph.
The film's writer, Henry Denker, was not a Catholic but a Jew. I would not wonder that this informed the films attitude toward Religious intolerance, as much emphasis is placed on the persecution faced by American Catholics at this time. He did, however, have experience with Christian material having written the script for the religious radio series The Greatest Story Ever Told (later adapted into the novel and, subsequently, the film of the same name). He was also helped in his duties by Sister Mary Hilaire. Denker was a prolific author and playwright and it shows. Despite the constraints placed on him by the film's limited runtime, he and Sister Mary provide the film with a fairly witty screenplay. The scenes between Mother Seton and Father Caroll are especially good. One scene in particular sticks out, where Elizabeth, after being offered coffee by the Archbishop, says, "I'm partial to coffee, so in this instance at least, I can say, 'Father, take this cup from me.'" With that said, there are times when the dialog is a little too on-the-nose, especially in the aforementioned narration.
Kate Mulgrew is magnificent as the titular saint and the film stands, firmly, on her shoulders. She brings a real sense of pluck and vigor to the role of the indefatigable saint, but there's also a tragic side to Mother Seton which Mulgrew brings out. We get a real grasp of her deep sense of pain and loss at losing her husband and later her two daughter, her self-doubt regarding her mission and the burden it places on her family but also of her ultimate faith and trust in God. Lorne Greene puts in a solid performance despite his questionable accent. The rest of the older supporting cast do an adequate job but many of the younger actors fair less well. I should also note that the film is well shot by Don Birnkrant, who makes good use of shadows and contrasts.
All in all, A Time for Miracles is a middling made-for-TV movie, elevated by its occasionally clever script and a truly great performance from Kate Mulgrew.
Score: 7/10
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