Slated for July 2006 release by Criterion, completely unfamiliar to me. Anybody know if the Powell-Pressburger has any of the faith elements that are in the Chaucer tale from which this one takes its name? Are the WW2 pilgrims "pilgrims" in any religious sense, or is their pilgrimage simply a journey home or something like that?

The Criterion blurb;

"Michael Powell and Emeric Pressburger’s beloved classic A Canterbury Tale is a profoundly personal journey to Powell’s bucolic birthplace of Kent, England. Set amid the tumult of the Second World War, yet with a rhythm as delicate as a lullaby, the film follows three modern-day incarnations of Chaucer’s pilgrims—a melancholy “landgirl,” a plainspoken American GI, and a resourceful British sergeant—who are waylaid in the English countryside en route to the mythical town and forced to solve a bizarre village crime. Building to a majestic climax that ranks as one of the filmmaking duo’s finest achievements, the dazzling A Canterbury Tale has acquired a following of devotees passionate enough to qualify as pilgrims themselves."

I saw this at the Pacific Cinematheque some years ago, on one of their Powell-Pressburger programs, and didn't care for it as much as some of their other films. I'm not sure how "religious" I'd call it; I think the 'theque's program is closer to the mark when it calls the film "a mystical meditation on British tradition". The blurb as a whole:

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"One of the richest and strangest treasures in British cinema" (David Thompson), the curious A Canterbury Tale was long considered one of Powell and Pressburger's failures, but is now ranked among their finest achievements. The film is set in a sleepy Kent village, where three characters -- a young woman, a British sergeant, and an American G.I. -- set out to expose the mysterious "glueman" who is terrorizing local women -- by pouring glue into their hair! This quirky premise sets the stage for a mystical meditation on British tradition, lyrically shot in beautiful black-and-white by Erwin Hillier, with definite hints of the sadism and perversity which form the darker side of the Powell and Pressburger genius. "Extraordinary . . . Though infuriatingly difficult to categorize, the film is bold, inventive, stimulating and extremely entertaining" (Time Out). "One of the weirdest, but almost most atmospheric and beautiful of the Archers' works" (Film Forum, New York). "From any point of view, the kinkiest film of the war" (Basil Wright). B&W, 35mm. 124 mins.

Interesting backstory on one of the film's stars, John Sweet, who is now living in NC:

I got A Canterbury Tale from Netflix yesterday (Criterion DVD released July 25). I only wish I had been able to see it before I voted on the 2006 Top 100, because I would certainly have voted for this one. If it doesn't make the 2006 list--and it probably won't, because I'm sure hardly anyone will have seen it--it should be nominated for the next round.

As the comments posted by PTC note, the plot is rather "weird," but I would say that the film does indeed call the viewer again and again, in various ways, to consider spiritual things, an order of justice and grace in the world, even when all seems to be falling apart in a time of war, and the roles we play in witnessing and ministering justice and grace to one another across time and space.

So, in answer to Ron, yes, the "pilgrims" of A Canterbury Tale are at least as religious as Chaucer's pilgrims--most of whom, you may recall, are hypocrites or worse--and yet, they are all going to Canterbury. As one character notes, [spoiler]"A pilgrimage may be done to receive a blessing, or for penance."[/spoiler]

Another intriguing theme that emerges--pointed out by Ian Christie in his DVD commentary track--is comparisons and contrasts between movies/movie theaters and church services/cathedrals--cf. the quote about the "church of the masses" Barbara Nicolosi uses as her blog epigraph.

Also some generally interesting Chaucerian/Canterbury Tales allusions, and some WWII propaganda details that some might find equally applicable to the 21st c.

I saw this as part of a course I did on Powell & Pressburger. I remember being somewhat pleasantly bemused by the whole thing, but not much more beyond that other than the ubiquitous glue villain & one great cut near the begining involving a plane. The quality of light was great too - captured England in Summer perfectly.

I've been meaning to watch it again recently. Will add to rental queue and no doubt receive it before all the new releases that are in higher demand and report back.