As a retired Christian minister, I have perhaps a different view of the movie than some of the other reviewers.

I felt that Laforgue,the Jesuit Priest, showed amazing courage to undertake his mission under the most difficult of circumstances.

Director Bruce Beresford has addressed the issues of clashing cultures in several of his other films: Driving Miss Daisy, Mr. Johnson for example. And he presents the complexities of culture anew in this film.

I was struck by the absolute beauty of Québec and the film's cinematography.

Back to Laforgue for a moment: here is a protagonist that accomplishes his mission with wisdom, intellegence, prayer, dependence upon his faith, lack of violence, and persverance.

Released in 1991 and based on Brian Moore's researched novel, "Black Robe" relays the story of a young Jesuit priest in 1634 visiting the French settlement that later became Quebec City. Father LaForgue is assigned to a distant Huron mission accompanied by a young quasi-believing assistant and a family of Algonquin Indians. The group faces challenges beyond the harsh realities of the river trek itself, including an attack by hostile Iroquois. Of course the Indians question the "strange ways" of the priest and his dark attire and wonder whether he is a demon. Instead of addressing him as "Father" they simply call him "Black Robe."

I've viewed "Black Robe" three times now and it never fails to capture my attention from beginning to end (the film runs 101 minutes), which is why I don't get the criticism that it's somehow unabsorbing. What strikes me most is the raw realism. Viewing "Black Robe" is the next best thing to going back in time and viewing the events firsthand.

Other highlights include: Lothaire Bluteau's solid performance as the missionary priest; LaForgue's assistant, well played by Aden Young, and his developing love for the daughter of the Algonquin leader, played by the beautiful Sandrine Holt; the Algonquins themselves, particular the patriarch; the freaky midget shaman of a band of Montagnais natives; the harrowing events at an Iroquois fort; the subtext on the truth or falsity of spiritual beliefs, both of the Jesuits and the Indians; and the spectacular cinematography of the Quebec wilderness (mostly the Saint Lawrence River, filmed on location). The film successfully shows the desolate, untamed nature of the NE before the mass encroachment of Europeans.

Some may wonder: How does it compare to "Last of the Mohicans" or "Dances with Wolves," two contemporary films also featuring realistic portrayals of AmerIndians? Of the two, "Black Robe" is closer to "Last of the Mohicans" since the story takes place in the East and there aren't any cowboys & Indians, although the story takes place well over a century earlier. The film differs from both in that there aren't really any Hollywood contrivances, including conventional movie plotting. As great and generally believable as those other films are, "Black Robe" shows the harsher, bleaker reality, which some may translate as boring.

However, as raw and realistic as "Black Robe" is, it could've been more so, considering that it fails to show one disturbing reality of Eastern AmerIndian culture, as detailed in Moore's book (pointed out by another reviewer): The film avoids depicting the native practice of ritual cannibalism on a dead infant, a custom that was common among the tribes of the Eastern woodlands. To consume an enemy's flesh was to absorb his power. The heart of an especially courageous foe (such as Jesuit martyr St. Jean Brebeuf) would be eaten by tribal leaders. But, don't get me wrong here, I'm kind of glad the movie left this aspect out.

"Black Robe" has the same vibe as 2007's "Mongol: The Rise of Genghis Khan," so if you appreciate that style of raw-realism you'll likely value "Black Robe." Needless to say, if you have ADHD or require constant explosions to maintain your attention, stay far away.

GRADE: A