Robbins has sole credit for the screenplay, which was adapted from Sister Helen Prejean's book of the same name. While the source material ensures that Sister Prejean's portrayal will be nearly saintly throughout, the surprise is that the death row rapist and murderer Matthew Poncelet (Sean Penn) is such a deep and credible character.

It is too easy to suggest that Sarandon landed her plum role due to her common law marriage with Robbins, which has produced two children. But the truth of the matter is that Sarandon is perfectly cast, as she is able to project the mixed emotions of strength, empathy, contempt, and faith.

Still, it is easier to play a nearly perfect nun than it is to portray a murderer. Penn could have made Poncelet a monster, cunning like Hannibal or dripping with menacing evil like Robert Mitchum in Cape Fear. Instead, Poncelet is a racist man of poor judgment who is prone to hateful rages. But he is human as well, and in rare moments of reflection apart from his usual self-pity, he learns to regret the terrible things he did that one night that put him on death row.

The film raises the question as to whether her social work would be better spent on those who can still participate in life. Is the soul of one man, especially that of a condemned killer, worth the devoted efforts of a nun? Is it publicity that she seeks, or is she making a statement that even the lowest of man can achieve salvation? Of course, the film suggests the latter and not the former.

Sister Prejean cannot perform a miracle. Poncelet does not become a born-again Christian who quotes scripture with glazed eyes. On the other hand, his final words are expressions of sorrow and not thunderous declamations.

A slow-moving film, Dead Man Walking is also a downer. But while it will never be viewed with the same frequency as an Austin Powers movie, it offers far greater insights into both character and culpability.

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