Without going into storyline details, this 1944 title is uncannily similar to the story events of the later "Inn of the Sixth Happiness", produced in 1958. What is baffling is that the "..Sixth Happiness" movie is claimed to be the biographical account of Gladys Aylward; yet it seems to be "Keys of the Kingdom" in new clothes. Story similarities: (1) unlikely missionary called to China (2) must build their mission with few resources (3) wins favor of local provincial leader (4) starts a children's home (5) caught in the middle of the Chinese civil war (6) humble servant, recognized for a lifetime of service.I have looked online for a comparison of these two titles, without results but I believe the storyline must have emerged from the same source. I recommend watching both, then draw your own conclusions.

I first saw this movie some 35 years ago. It is a brilliant move that goes to the heart of showing the difference between a spiritual relationship and religion. It covers clearly so many ethical issues of life.While the name of the movie may not in itself draw a person to watching it, it is nevertheless well worth watching. The entire cast of this movie was so well chosen that once seen in these roles it is hard to imagine them as playing any other part. Gregory Peck in the role of Father Francis Chisholm, Thomas Mitchell as Dr. Willie Tullock and Vincent Price as he Rev. Angus Mealey are a few examples of the excellent casting.A movie that promotes great introspection and a lot of tears

Before getting started I should confess that I am an unabashed worshipper of Mr. Gregory Peck. In mourning his death, I resolved to track down and watch those few of his films that I hadn't yet seen. The Keys of the Kingdom came early in the process and was a delighful surprise. I admit, I had rather low expectations knowing that this was only his second film. Nevertheless, Greg shines as brightly in this as he does in so many of his later films. Thomas Mitchell (best known as Uncle Billy in It's a Wonderful Life) is also charming as the atheist best friend to Peck's priest. The movie explores the unusual tension within the church between succeeding at being a good person and succeeding at climbing the ecclesiastical ladder. As you might guess, Peck plays to type as the good-hearted priest who never quite gains the respect of his superiors. Look for Vincent Price as an example of the latter; a less than caring priest who is consistently promoted.This is a charming albeit slightly sentimental film that I hope to see available in DVD format someday. Until then it is well worth the effort it might take to track it down.

What a wonderful story of a man, despite much adversity, contributes himself to the Chinese community he loves so much. It is amazing how Peck makes it so effortless (even in his only second film)in portraying a young man to one in his twilight years. He personifies morality and quiet integrity in this film, reminiscent to the role that he would play nearly twenty years later in TO KILL A MOCKINGBIRD.The supporting cast which performs more than ably is led by Cedric Hardwicke playing a monsignor who was initially critical of the Peck character but emerges having respect for him after reading his memoirs (which form the narration for the film. Others include Thomas Mitchell as the irreverent self-proclaimed atheist who does much to provide the witty humour for the film, Edmund Gwenn as Peck's plucky mentor at the seminary who uses the term "ecclesiastical mechanic" to describe priests who are inflexible and bureaucratic, and Rose Stradner as the Mother Superior who falls in love with Peck (you only get a hint of this).One of the highlights is the film's efforts in portraying the Chinese in a sensitive manner in terms of the customs shown and dialects used. This is very unlike films of its era which tended to portray Asians in a more stereotypical fashion.