o’s small-lived reign as the archbishop and the journey of transforming from a moderate theologian into a forefront hero of human rights is brilliantly chronicled in the film, Romero.
In this movie, Church is portrayed as a weapon of the wealthy to maintain status quo against the rebellious peasants and laborers. Back in those days, Salvador was characterized by assassinations, kidnappings, barbaric militarism, and executions. In order to curb the growing discontent amongst the populace, the Vatican promotes conservation Romero to the position of the Archbishop. In the beginning, Romero conforms to their vision of Church as he preaches ‘Blessed are the peacemakers’ (Duigan). However, after seeing militants thwart voters, open fire on crowds, torment insurgents, murder a dedicated priest, Romero awakens from the slumber. He expresses his condemnation on radio, rebukes quisling bishops, and heads a peasant march into a Church occupied by the soldiers. His gallantry reached apex when he rebels and insults against the president, in fact a militant general, Harold Cannan.
One of the most noteworthy developments of Romero’s tenure as pastor of the archdiocese is the way in which the institutional Church integrated with the prophetic aspect of the Church. Romero endeavored Church to serve as an institution of service to its real mission, instead of the mission in which Romero and his pastoral workers found themselves trapped in. This mission was based on Church playing an integral institutional role in the political turmoil and military persecution though abject poverty, height of injustice, and socio-economic disparities. Oscar Romero’s abhorrence for the institutional Church is shown when he tried to stack back in the jeep while other priests persuade Salvadorans to go to the polls. Thus, ay the very beginning, the Church is depicted as apolitical institution, refraining from politics (Duigan).
Similarly, the Church serves as an institute to accentuate the