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Pain and participates in the fullness of the human struggle. God to be feared and avoided, a God of revenge, but a God who is moved by our The truly good news is that God is not a distant God, a Out of this divine solidarityĬomes new life. That God first wants to share that pain with us. Nouwen: “The mystery of God’s love is not that our pain is taken away, but Loved just as much today as on the first Good Friday is astounding (cf. Said: “Through a tree we were made debtors to God so through a tree weĬost of that cancelation is beyond our imagining. Speaking of the tree in the Garden of Eden and the tree on which Jesus died, the wind knocked out of you.” The cost and grace of the cross But it’s an extraordinary experience because I got hit and it froze my diaphragm, which was like getting.
“I walked out of the take and I fell down. “I had a fourteen-inch gash right on my back,” he said. The scourging of Jesus by Roman soldiers, he was accidentally struck. The AC joint in his shoulder was also torn, so carrying theĬross was especially painful for him. Now, in the tape, you’ll see streams of blood coming down from my lip. it actually struck my head and buried my head in the sand. He told reporters, “As I went down, the cross. When he fell as Jesus did, the cross landed on top of him. The most realistic I have ever seen in a film.īut we didn’t know just how realistic they were until theĪctor gave an interview recently in which he described the injuries heĬaviezel carried a heavy wooden cross through the streets of Jerusalem’s Old City on his way to Calvary. His depictions of Jesus’ suffering and death were The Bible may simply mention 'scourging', but here we watch in agonised minutiae the flagellation of Christ's torso, a passage of sickening physical degradation.Jim Caviezel portrayed Jesus in Mel Gibson’s movie, The If Gibson's sole purpose was to concoct a literalist depiction of gospel accounts, then he succeeds. It shocks and stuns with unflinching clarity. This is the most brutal, vivid, sustained depiction of torture ever mounted. De Mille or Pier Pasolini's sculptured renditions.Īnd here lies undeniable power. It's a tough objective, and the film veers between moody, flame-lit arcana and a burnished, draining whitewash daylight sucked dry of scope a docu-stark antidote to the dreamy twinkle of Cecil B. Cinematographer Caleb Deschanel was charged with refining the religious depictions of baroque artist Caravaggio (striking works of morbid iconography) for the screen. Evil.įor a film that is so determinedly putting its emphasis on the 'real', this is camp showmanship at its most redundant.
Even Satan pops up as a hooded cue ball, part Sith, part Dr. There is also something half-deranged about its depiction of evil - deformed dwarves, mutilated children and storm clouds bloom daftly at the film's ropier fringes. Despite the films box office success, Jim Caviezel, who starred as Jesus in the movie, claims that The Passion of the Christ effectively ended his mainstream acting career. For too much of the film there is an emphasis on the events as Jewish crime rather than any preordained sacrifice necessitated by scripture.
Jesus in the passion of christ movie movie#
Meantime, no-one will go into the movie immune to the peals of disgust hurled in Gibson's direction since he first declared his intentions ù principally accusations of anti-Semitism and Catholic propaganda - and, even objectively, they are not entirely unfounded. The film functions more as a visual experience than an intellectual or emotional one, the actors almost throttled by the significance of their characters.
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Caviezel is almost mummified beneath layers of prosthetics, skin flayed red raw like an animal carcass, leaving him more symbol than character. And amongst such vocal verisimilitude there is only the thinnest veneer of the gospels' eloquence, Christ's sanctified poetry to counter the cruelty into which he is delivered. So, be warned, it will test your mettle - not least in its determination to have Aramaic and Latin as the spoken languages, leaving English captions to feed the lines. Gibson's Passion is a downward spiralling journey into darkness and despair on an unprecedented scale.
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Ripping away years of indoctrinated Sunday School niceties, this is a film born less of Christ's message of love than a torrent of unfettered rage. A post-match lie-down in a darkened room comes highly recommended. When was the last time a film managed any of that? There is no doubting the impact.
You may feel anger, revulsion, even queasiness at the stinging stretch of bloody martyrdom frustration at the film's obvious limitations or indelicate undertones it may even leave a residue of religious contemplation, a return to questions and confusions that scarcely reach debate in our secular times. Stumbling into the light, having just endured Mel Gibson's two-hour pop-profound blitzkrieg on your senses, religious convictions (or lack of them) and prescribed interpretations of the events leading up to the crucifixion of Christ, first reactions race and ricochet like a pinball.
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