Christmas Lilies of the Field (1979) Online

1979 Billy Dee Williams Maria Schell Fay Hauser Ralph Nelson

Original Title :: Christmas Lilies of the Field
Genre :: Movie / Drama
Year :: 1979
Directror :: Ralph Nelson
Cast :: Billy Dee Williams,Maria Schell,Fay Hauser
Writer :: William E. Barrett,John McGreevey
Type :: Movie
Time :: 1h 40min
Rating :: 6.1/10

Christmas Lilies of the Field (1979) Online

Homer Smith returns to the chapel which, years before, he helped to build to find that the nuns have taken in a group of homeless/unwanted/runaway children. Once again, he is inspired by the nuns' faith and selfless devotion, and this time he builds an orphanage and a little school for the children.

Cast overview, first billed only:
	Billy Dee Williams	-	Homer Smith
	Maria Schell	-	Mother Maria
	Fay Hauser	-	Janet Owens
	Lisa Mann	-	Sister Gertrude
	Hanna Hertelendy	-	Sister Albertine
	Judith Piquet	-	Sister Agnes
	Donna Johnston	-	Sister Elizabeth
	Bob Hastings	-	Harold Pruitt
	Jean Jenkins	-	Mrs. Constance Everett
	Fred Hart	-	Father Brian Connor
	Sam Di Bello	-	Dr. Mike Robles
	Timmy Arnell	-	Josh
	Oliver Nguyen	-	Trang
	Regina 'Peachy' Simons	-	Pokey
	Julie Delgado	-	Felicia

The original 1963 black and white feature film's title "Lilies of the Field" came from Mathew 6:27-33, and its parallel scripture from Luke 12:27-30, a portion of the Sermon on the Mount. The 1963 film was directed by Ralph Nelson, with Sidney Portier (Homer Schmidt) and Lilia Skala (Mother Maria). The film tells the story of an African American itinerant worker who encounters a group of East German nuns who believe he has been sent to them by God to build them a new chapel, adapted from the 1962 novel by William Edmund Barrett. The 1963 feature was filmed on Linda Ronstadt's father's small ranch, located on the Northern edge (near Sabino Canyon and Cloud Road) of Tucson, Arizona. There was no art director, but the property master, Robert Eaton, actually supervised the construction of the chapel, which was built adjacent to existing ranch buildings. The interiors of the 1963 film's Mother Maria's quarters were filmed inside the ranch building. The chapel construction had to be built at night, in order to keep up with the fifteen day filming schedule. Property master Robert Eaton rented a prop pump organ, furniture, other set dressing and hand props from the Hollywood Cinema Mercantile Property House, located on Santa Monica Boulevard near the Paramount film Studios. Eaton drove a rental truck carrying all the props to Arizona for the shoot, returning all the props after the film's completion. Watching the 1963 film's scenes in Mother Maria's interior main room, the prop pump organ stands against one wall, with a painting hanging on an adjacent wall. There is absolutely no continuity in where the prop table and chairs, pump organ and hanging picture belong. The furniture-props are 'waltzed', choreographed, to the actors' motivation, camera positions, or the actor's movement in each scene. Early summer of 1979, Ralph Nelson was the principle motivation in developing the "Christmas Lilies of the Field" property as a NBC movie of the week. The sequel, Homer Schmidt returns to the Arizona desert where he had built the chapel for the nuns. This time Mother Maria convinces Homer into building a kindergarten as well as an orphanage. The NBC Television Movie of the Week special "Christmas Lilies of the Field" featured Billy Dee Williams as Homer Schmidt and Maria Schell as Mother Maria. The NBC December feature special was produced as a television series pilot mid-season series replacement for Spring 1980. "Lilies of the Field' was to be based at the Osmond Family Orem-Provo studio facility. The MOW film's location and interior sets for the Chapel and Nun's quarters were built on Utah State owned/governed land 75 miles North-West, from the Osmond's Orem studio. The production planned to use this distant location for the series, filming additional locations in the Salt Lake area, and utilizing the Orem studio for offices and as a base for the television series. The dismal ratings when the MOW (December 29, 1979) aired spiked any future prospects for the project's development, nor was ABC or CBS Networks moved to take on the proposed 'shopped' series. Cal McWhorter, the studio's facility manager and construction manager-coordinator, became concerned with the initial Chapel and Mother Maria's location sets being constructed on the foothills at the leased Utah State owned property. Having worked with Hub Braden at Hollywood's KTLA Television studio, Cal brought Braden to Utah to evaluate the original plans, provide direction and design elements to what had already been initially started. Cal realized the hired local talent could not cope with the scope of the production's demands. Braden, in turn, brought the set decorator Don Remacle onto the production crew, knowing that Remacle had formerly studied to be a Catholic Priest. The major problems with the set exteriors and interiors was the lack of doors and windows, neglected in the initial design phase plan. With walls already built, or in the process of construction, the set foot print and plan were expanded, revised, and reconstructed to "wild" away for camera positions. The chapel's exterior sight required roads, gardens, and out-buildings to motivate scenes and action as scripted. The director Ralph Nelson had not been much help to the local young man who had initially planned the location set. Remacle, with his Southern California lead man, spent a week in Mexico purchasing religious relics and altar dressings for the chapel. During filming, Remacle served as consultant in the liturgy of the Roman Rite of the Catholic Church, the altar where the sacrifice of the Mass is offered. Remacle advised Ralph Nelson and Maria Schell, portraying Mother Maria, and the Sister-nuns in altar ceremonial sacraments. Don Remacle advised costume designer Dyke Davis on all the garments worn and accessories used by the Sisters and Mother Maria.

CHRISTMAS LILIES OF THE FIELD opens with a recreation of the final scenes of the original LILIES OF THE FIELD, beginning where Homer signs his name at the top of the steeple and ending with his driving away into the night.

Based on the initial 1976 success of the ABC Network variety series "The Donny and Marie Show", real estate developer, George Osmond, patriarch of the Osmond family enterprises, constructed a multi-million dollar Orem "Hollywood style" TV studio in Orem, adjacent to the foothills of Provo, Utah in 1977. The variety series "The Donny and Marie Show", originally taped weekly at the Hollywood KTLA TV (formerly Warner Brothers 1920-30's) Studios, on Sunset Boulevard. With the show's popularity and successful ratings, George Osmond decided to move "The Donny and Marie Show" to the Orem-Provo area in 1976, unbeknown that the network would cancel their show, marking its final season in the Spring of 1979. The move (along with changes to the show's format) proved unsuccessful and the series was canceled. "Cal" Calvin McWhorter, KTLA TV Studio's construction coordinator, accepted the Osmond Family's job offer as their Orem Studio's production facility manager. Cal's brother Ed McWhorter, working with his brother Cal in the KTLA Studio's construction shop, and as a KTLA #33 (IATSE) union stage technician, moved with the Osmond's series to Utah as a construction coordinator. The Osmond's Orem studio facility was unique as a first in the Salt Lake-Provo area providing a "Hollywood" production facility with rehearsal rooms, offices, two fully equipped television-tape studio/stages, a complete lighting package, also including construction, paint, scenic, graphics, drapery, costume and wardrobe departments, engineering with video show-tape editing personnel. The facility offered a major employment opportunity to the Salt Lake and Provo communities. Popular as a tourist sight, the family's open door policy allowed visitors entrance to the sight, where a "wall of fame" had been constructed in the administrative exterior studio forecourt. Each week, the show's celebrity guests implanted their hand print, foot print and signature on a rectangular concrete slab, with the concrete slab hung on the wall of fame. Osmond Productions endeavored to develop film projects for the entertainment industry utilizing their facility. Commercial accounts from Ohio video taped their TV promotions and ads at the studio. The Osmond's developed other special entertainment projects, which aired on various network outlets. The Osmond Family sold the studio when it was no longer feasible to continue operating it. Jimmy Osmond later purchased the sight back, refurbishing the buildings, turning the property into Osmond Real Estate company until 1993, when the real estate company moved.

The Set Decorator, Don Remacle, had studied for the Catholic Priesthood, changing his career objectives after attending the Pasadena Playhouse Drama School. With his knowledge of the Church, all Altar and ceremonial procedures, he advised Ralph Nelson and Maria Schell on everything related with the Chapel scenes, including all the set dressing related actions or scene motivations. Remacle also advised the costume designer, Dyke Davis, on all the Nun's wardrobe and accessories. Don Remacle quit his Fairfax- Beverly Blvd CBS TV staff set decorator position to work on this Provo, Utah location film assignment. Upon completion of the NBC TV MOW, Remacle returned to Los Angeles, immediately going to work on a film television series at Universal-MCA Television; then, onto an illustrious film set decorating career working with director George Cukor's 1981 film "Rich and Famous".

The studio was not satisfied with the singing voices of the kids hired to play the orphans. The studio ended up going to Orem Junior High School, which was known at the time to have a very good musical theater program, and hiring six local kids to sing the songs in the film. Their voices were dubbed in for the orphans in the songs but they were never credited.

The movie company's driver captain was asked by the production designer to locate and find a 1959 picture car - a 4-door wing tail fin El Dorado Cadillac for the Indian Chief's warhorse chariot. When the cherry showcase vintage maroon painted 1959 Cadillac appeared the day of filming at the exterior desert chapel location sight for the film's principal photography scene, the stand-by scenic artist proceeded to "age" the vehicle with rust colored paint, and detailed the auto's exterior paint job to look like the "Indian Chief's old war-horse Cadillac" had survived a very long desert campaign. Afterwards, the Cadillac was washed and cleaned, returned to the owner after the filming was completed.

User reviews

Pooker

I just finished watching this film on our local UPN station. They stuck it on the schedule in the middle of a weeknight - 'filler', of course. We don't have (or want) cable or satellite TV, so I'm always happy to find something a little different - even if it is aired at 2:00 a.m.

What really kind of hooked me about this movie in the first few minutes was not Billy Dee Williams, but the actress who plays "Mother Maria." She's one of those women who have a seemingly effortless moral authority and strength. She also has mesmerizing green(?) eyes. (Ostensibly, Williams is supposed to be the main draw here - but I've always found him to be an actor of limited appeal. Very handsome, of course - but not a great talent.) She was totally believable in the role of a head nun who is committed to providing a home for a bunch of abandoned and neglected kids.

The southwest location is a nice change from the stereotypical snowy Christmas-movie locations.

I also liked the multi-ethnic cast, although the character of the black social worker was a gratuitous, obvious (and highly unlikely, given the setting) romantic interest for Billy Dee.

The movie's low-key, matter-of-fact atmosphere makes for a realistic portrayal of everyday struggles. No supernatural miracles here - just a bunch of people trying to better the lives of unwanted kids.

Anyway, I really enjoyed this quiet little gem. Especially at this time of the year, when I've seen the same holiday films over and over again. Like "A Christmas Story", I'll add this to my roster of under-rated and 'forgotten' holiday movies.

If you run across "Christmas Lillies of the Field" on some lower-rung channel in the middle of the night (like I did) - give it a chance. It's a charming, heartwarming little film that really grows on you.

Gna

While I enjoyed this film, I feel that there were a couple of problems with it.

The first is that it was shot in color. Having seen the original Lilies of the Field in black & white, there was a certain "feeling" about seeing it in b/w, and somehow seeing the sequel in color just didn't do it for me.

The second is with the role of Homer Smith. While I had no problem with Billy Dee Williams playing the role, I have a big problem with him mimicking the voice inflections, hand motions, and movments of Sidney Poitier. I felt that it was too contrived.

Sidney Poitier was the perfect actor in the original Lillies of the Field back in '63, he has certain mannerisms and vocal inflections that make him who he is.

Mash

I grew up watching this movie every year at Christmas, without fail, since my mother found it at a local independent video bar, and bought it for three dollars, and so I am probably more than a little biased. However, I think this is a really sincere and heartwarming movie. The color is a little extraneous at times, especially in the face of the original Sidney Poitier version, but I don't think it takes away much in the grand scheme of things. The story is simple, like the original, and the actors play it out just as simply (although "Question Lady" does have a little bit of indulging going on sometimes). Again, the Southwest U.S. setting makes for a visually beautiful film, and the multiracial cast enhances it. This movie might be seen as trite and insipid, but I think it's a classic that has never been fully appreciated for its value, sentimental and otherwise.

Nalmergas

*Minor Spoilers For Sequel, Major Spoilers For Original* There's this film called Lilies Of The Field you may have heard of. It wasn't a very big deal, except that it explored old themes of pride and isolation with a fresh innovation, wrapped in an enthralling plot, adapted from a novel of the rarest literary value, written about a legendary but purportedly true story... and oh, its star won an Academy Award, and that star just happened to be Sidney Poitier, the first African American ever to take home the prestigious Best Actor award for his leading role, and all this happened while Dr. Martin Luther King was alive and fighting tooth and nail for black rights.

So yeah, it's kind of a big deal. Lilies of the Field broke ground.

And then there's Christmas Lilies Of The Field, it's made-for-TV Christmas special sequel.

I'm not saying that it couldn't be done. That it was impossible to craft a followup which would ever be anything more than an amazing film's sorta-dumb tagalong little-brother. But as moving and groundbreaking as the original was, they probably shouldn't have tried.

If you haven't seen the original, stop. Right now. Go watch the original Lilies before I call you uncultured swine. I try not to reveal any more than the inciting event in any review, but considering this one's a sequel, I can't be held responsible for spoiling anything the original.

If I ruin an American classic that you've never seen before, that's on you, buddy.

The OG Lilies introduces Homer Smith, a vagrant laborer who dreams of becoming an architect. It's a tale of a self-generating destiny overtaking the man. In the middle of the desert he encounters a group of German nuns who, we learn in due time, have hurdled monstrous adversity to escape Soviet-controlled parts of Europe and immigrate to Arizona, where they manage a meager living pulling the proverbial water from the rock and farming the barren desert. Smith stops to help them mend a fence on the hopes he'll be paid, only to meet his match in the iron-willed Mother Superior: they quote a few scriptures, Smith's scripture hinting that he ought to be paid and Mother Superior's suggesting the opposite. Mother Superior gets the upper hand and manages to convince Smith to stay on for another odd-job the next day.

Thus shanghaied, Smith finds himself all but obligated to continue his work. It's a case of worlds colliding when Smith (a Baptist) is immersed in their Catholic world, but an undeniable bond is building. Smith's growing friendship with the nuns culminates in admitting his dream of being an architect and agreeing to construct a chapel so that they and their parishioners don't have to walk miles to the next town's chapel, and despite Smith's obstinate insistence that he alone build it, the nuns and community band together to assist in the mammoth project. Eventually – here comes in the self-generating destiny – they come to believe Smith was sent by God on a mission to help them.

The bittersweet ending revolves around these two indomitable wills, Mother Superior and Smith, who've butted heads throughout the film. Smith completes the chapel, and Mother Superior finally gives thanks to him directly (whereas before she's been careful to thank only God). They and the nuns sing one last Baptist riff together, and Smith quietly departs onto fates unknown, supposedly forever. Mother Superior, knowing he's leaving, makes no further efforts to twist his arm or dominate his choice with any quoted scripture.

You're satisfied with this ending. It isn't 100% happily-ever-after, but it's good enough. After a long struggle these two have finally come to understand each other.

Which brings me at last to why this sequel should not have been made: it's a *freaking Christmas special*.

Lando Calrissian/Apollo Creed (known as Billy Dee Williams to some people) takes over the leading role in Christmas Lilies Of The Field, and I have no complaints there. He's a versatile enough actor to work with what he's given. But let me give you the (somewhat mocking) rundown of exactly what they gave him to work with.

Homer Smith is back! He's been reunited with the nuns after coming to reinspect his work on the chapel and ensure it's still up to spec. But wait; what's this? A busload of adorable children? Not just children- orphans. Thanks for the chapel, Lando, but we need an orphanage now, and it's got to be done before Christmas or the Big Bad State is going to send them all to foster homes.

Oh, and one of the orphans is pregnant. Will the baby be born healthy, and on Christmas Eve? I have a feeling I know the answer to that! Basically, it's a But-The-Children! plot, and it's totally lame.

OG Lilies is a like a five-course meal engineered by a nutritional scientist. It's everything you want out of this sort of drama. It's the porterhouse steak; it's the salad; it's expert wine-pairings; it's a delicious desert you don't feel guilty about.

Christmas Lilies? Christmas Lilies demands a happily-ever-after by its very nature. Christmas Lilies is rock-candy dipped in chocolate, drizzled with caramel, and liberally coated with sugar.

I enjoyed the movie for what it was. I had no delusions going into it. This was a light-hearted sequel which never aimed to break new ground.

But after OG Lilies, that just wasn't enough. OG Lilies deserves better.

My message to filmmakers? If a sequel can't at least match its original, don't bother.

My message to viewers? If you're the kind of person who likes Christmas Specials, have at it. If you're here for that same fulfillment you found in OG Lilies, though, you're barking up the wrong tree.

Doath

Loved this movie, saw it in 1979 on TV and have caught it once since then, how can I get a station to play it? I was already a Billy Dee Williams fan so I was already intending to watch it. I had seen the 1963 version with Sidney Poitier and loved it also. I believe it was arguably was the Best Movie of the year in 1963. I have Googled "Ralph Nelson" to find the movie, but with no results. Mr Nelson died in 1987 and because this was a made for TV movie, the tapes have somehow disappeared.I am looking now online for some web address who sells old made for TV tapes. I will try to locate more information on the director.

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