Pope Joan (1972)

In the 9th century, a young girl (Liv Ullmann) must struggle to make her way in the world after her father, an English monk (Jeremy Kemp), dies. Her intentions to devote herself to Christ and join a nunnery are often in conflict with her desires as a woman. But later, when masquerading as a male monk to protect her from pillaging wartime armies, she finds her destiny. The mythical legend of a female Pope has been around for hundreds of years though there is no basis in fact for it. A legend it was and a legend it remains. But I suppose the subject matter is too tempting for film makers to pass up. Alas, what looks interesting on paper looks quite ludicrous on film. At turns, poor Liv Ullman finds herself raped, masturbating with a cross in her hand, getting it on with a handsome monk (Maximilian Schell) and bedding an Emperor (Franco Nero). What madman thought there was an audience for this outside of exploitation houses? The film takes itself too seriously to be any fun like the nunsploitation (yes, I know that's not a word) films of the 70s. But perhaps the film makers would have been better served by casting Ursula Andress or Britt Ekland as Pope Joan instead of Ullmann. The film feels choppy as if parts were left out (indeed, apparently a contemporary framing device featuring Keir Dullea ended up on the cutting room floor). Directed by Michael Anderson (AROUND THE WORLD IN 80 DAYS). The insistent score is by Maurice Jarre. Also in the cast: Olivia De Havilland, Trevor Howard, Lesley Anne Down, Patrick Magee, Andre Morell, Nigel Havers and Martin Benson.