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The Passion of the Christ |
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Official URL: http://www.the passionofthechrist.com |
February 25, 2004 By Veronica Mixon
Mel Gibson's film about the last hours of Jesus' life leading up to his crucifixion is an intense two hours but a worthwhile emotional experience because The Passion of the Christ is about sacrifice for love. Gibson, who spent 13 years researching it and financed the film with a reported $35 million of his own money, proves again that he's a savvy filmmaker. Passion has an exquisite look of antiquity down to the muted earth tones of the rock buildings and the period costumes and a wonderful cast of mostly unknown actors that speaks in Aramaic and Latin with English subtitles. And, it works! The film opens with Jesus (Jim Caviezel, A Thin Red Line and Angel Eyes ) praying in a garden as Caiaphas (Mattia Sbragia) and some of the Pharisees insist on his arrest and beseech Pantius Pilate (Hristo Naumov Shopov) crucify him. Not all of the priests agree with this tactic and Pilate hesitates fearing the political fallout back in Rome if this situation isn't handled properly. Meanwhile, Satan (Rosalinda Celentano) slithers around Jesus waiting for any opportunity to lure him away from his faith. You don't have to be religious to realize the enormous fear that Jesus felt when he realized what lie ahead of him. Jesus' scourging is extremely violent and it is prolonged in excruciating detail with blood splattering on the Roman guards faces and flesh clinging to the spike whips. Because of these scenes, the film is not for the faint hearted or children. It will move even the most stoic viewer. There has been a lot of debate and controversy about Gibson's reasons
for making Passion and the great possibility
that it will inspire anti-Semitism. While Pantius Pilate was portrayed
more kindly than in past films, I felt that the objects of some of the
Jewish priests and followers showed that not every one agreed with the
events that took place. And, while the scourging of Jesus is horrific,
I believe most moviegoers will think about the basic Christian doctrine
of love. What I am curiois about is Gibson's casting of a woman as Satan.
No one has mentioned this fact and whether his conservatism influenced
his decision. It may be a first in modern religious films (I haven't found
any other instances). In years to come, I'm sure film scholars will find
the trio of women -- Mary the mother, Mary Magdelene, the whore and Satan
as a woman -- in The Passion of the Christ worthy
of much copy. Nevertheless, in this riveting, narrow telling of Jesus’
last hours, Gibson certainly compels Christians – devoted and lapsed
– to think about faith. He wanted it to be realistic and it is for
everyone in the audience.
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