The Eternal Gift
Cast & Crew
Rev. Msgr. Fulton J. Sheen
James R. Keane O.s.m.
Hugh Calkins O.s.m.
Frank Calkins O.s.m.
Jack O'keefe O.s.m.
Walter Cassidy
Film Details
Technical Specs
Synopsis
In Chicago, the "Pray the Mass" movement began to give Catholics a more intimate knowledge and understanding of the mass. The Pray the Mass movement was a result of the Perpetual Novena, which started in 1937 at Our Lady of Sorrows Church in Chicago. As part of the movement, classes teach that Catholics worship God through the sacrifice of the mass. The film then describes the progression of the Easter Sunday mass and its symbology. The mass begins with the entry of the priests while the choir sings. The sprinkling of holy water symbolizes the purification of the soul. The sign of the cross recalls the Holy Trinity, as well as the cross on which Christ died. The celebrant enters wearing a large cape, called a cloak, which he removes to put on the vestments, representing the typical clothes worn by laymen during the early Christian days. The chasuble recalls the seamless garment worn by Christ. Sweet-smelling incense on burning charcoal is a symbol of sacrifice, recalling Christ's sacrifice; the smoke that rises is a symbol of prayer. The celebrant then makes a solemn plea for mercy. "Proper" prayers change from day to day in the mass. "Ordinary" prayers are recited every day. The different proper prayers of the liturgical year are meant to recall the thirty-three years of Christ's life. After the prayers for God's forgiveness and mercy are completed, the celebrant reads from scripture. The type of choral singing heard in the mass is called Gregorian chant in honor of Pope Gregory. After a song extolling the triumph of Christ's resurrection, the sub-deacon brings the missal to the gospel side of the altar to remind worshipers that the word of God was brought to the world in the gospels. The sign of the cross is made three times--to signify the mind, lips and heart. After the celebrant silently reads the gospel, it is sung by the deacon. After the celebrant intones the credo, the deacon spreads the cloth on which rests the offering of bread and wine. The offertory begins when the celebrant summons the congregation to join with him in offering the sacrifice to God. The celebrant washes his fingers, an external cleansing that symbolizes the internal purity that the priest and congregation should possess. The celebrant sings a hymn of glory to God. The unchanging prayers, or canon, make up the most important part of the mass, and close with a joyful song. Before the congregation partakes of Holy Communion, the celebrant sings "The Lord's Prayer." The kiss of peace symbolizes fraternal love. The celebrant consumes the host and drinks the wine. The deacon and sub-deacon chant the confession of sins. The congregation then receives the bread, or the body of Christ, from the priest. The remaining prayers of the mass offer praise for the gift of God's son to mankind. Water is used to purify the chalice. At the end of the mass, the candles are extinguished because Christ the light of the world has been sacrificed. The celebrant now returns to the central theme, the joyful resurrection of Christ. A silent prayer is offered to the Trinity, asking for the acceptance of the sacrifice. After a prayer of thanksgiving, the mass is completed.
Cast
Rev. Msgr. Fulton J. Sheen
James R. Keane O.s.m.
Hugh Calkins O.s.m.
Frank Calkins O.s.m.
Jack O'keefe O.s.m.
Walter Cassidy
Harry Bristow
Maurice Couture
James G. Sullivan
Arthur Ley
Michael Sheehan
Maynard Schultz
Frank Fierce
James Hanlon
Jack White
Crew
Hugh V. Calkins O.s.m.
Hugh V. Calkins O.s.m.
Rev. Edwin V. Hoover
Rev. Joseph T. Kush
Rev. Willim P. Long
Rev. Gerard C. Picard
Edward Schrager
David Wark Scott
David Wark Scott
Howard Siemon
The Schola Cantorum Of The Archdiocesan Seminary Magdelein (of The Lake)
Carl M. Tillou
Alfred Wideman
Film Details
Technical Specs
Quotes
Trivia
Notes
According to an ad in Chicago Tribune, The Eternal Gift, which according to the ad was a ten-reel film, played for two days at the Chicago Civic Opera House, from 31 March-April 1, 1941. The ad also indicates that film was produced "with the full approval of the Most Reverend Samuel A. Stritch, Archibishop of Chicago."
