This work aims to elaborate an unprecedented analysis on the representation of the military chaplain, as a character, in Hollywood war films Saving Private Ryan and Peal Harbor and in the authoral films “The Great War and Paisan. For this, it was observed the historical trajectory of cinema, its use as a communication and propaganda language, its theoretical references, which corroborate the construction of the character in the religious and social field. The research is qualitative in nature, following a methodological procedure of bibliographic review of books, articles from scientific journals and internet sites, which report facts, stories and academic works aimed at the object of study. Surprisingly, although the chaplain develops a remarkable work in the socio-religious field, there is a lack of knowledge about the mission and the activities carried out by him with military and religious institutions. Thus, this study provides a certain visibility and notoriety to the military chaplain, having as reference a critical reading of war films. The research, carried out in the field of cinematographic communication, in particular, in film narratives, aims to extract, aggregate and justify - directly - the main themes that are present in the images, texts and sounds of the scenes, whose character the military chaplain fits, and - indirectly -, through the elements that refer to his institutional mission, added to the religious field in which the chaplain is immersed as an official of the cult. The research lists, above all, based on content analysis, the virtues, qualities, defects, vices, stereotypes and clichés, as well as the gestural and verbal expressions that characterize and feed the imagination of the construction of this character in the cinematographic world. Therefore, the elements present in the representations of the military chaplains greatly evidence the symbolic power that the character exerts, both in the religious field and in the military, social and political field.