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Unformatted text preview: Critical Reviews NAILED Mel Gibson’s “The Passion of the Christ.” by DAVID DENBY Issue of 2004-03-01 Posted 2004-02-23 In “The Passion of the Christ,” Mel Gibson shows little interest in celebrating the electric charge of hope and redemption that Jesus Christ brought into the world. He largely ignores Jesus’ heart-stopping eloquence, his startling ethical radicalism and personal radiance—Christ as a “paragon of vitality and poetic assertion,” as John Updike described Jesus’ character in his essay “The Gospel According to Saint Matthew.” Cecil B. De Mille had his version of Jesus’ life, Pier Paolo Pasolini and Martin Scorsese had theirs, and Gibson, of course, is free to skip over the incomparable glories of Jesus’ temperament and to devote himself, as he does, to Jesus’ pain and martyrdom in the last twelve hours of his life. As a viewer, I am equally free to say that the movie Gibson has made from his personal obsessions is a sickening death trip, a grimly unilluminating procession of treachery, beatings, blood, and agony—and to say so without indulging in “anti-Christian sentiment” (Gibson’s term for what his critics are spreading). For two hours, with only an occasional pause or gentle flashback, we watch, stupefied, as a handsome, strapping, at times half-naked young man (James Caviezel) is slowly tortured to death. Gibson is so thoroughly fixated on the scourging and crushing of Christ, and so meagrely involved in the spiritual meanings of the final hours, that he falls in danger of altering Jesus’ message of love into one of hate. And against whom will the audience direct its hate? As Gibson was completing the film, some historians, theologians, and clergymen accused him of emphasizing the discredited charge that it was the ancient Jews who were primarily responsible for killing Jesus, a claim that has served as the traditional justification for the persecution of the Jews in Europe for nearly two millennia. The critics turn out to have been right. Gibson is guilty of some serious mischief in his handling of these issues. But he may have also committed an aggression against Christian believers. The movie has been hailed as a religious experience by various Catholic and Protestant groups, some of whom, with an ungodly eye to the commercial realities of film distribution, have prepurchased blocks of tickets or rented theatres to insure “The Passion” a healthy opening weekend’s business. But how, I wonder, will people become better Christians if they are filled with the guilt, anguish, or loathing that this movie may create in their souls? “The Passion” opens at night in the Garden of Gethsemane—a hushed, misty grotto bathed in a purplish disco light. Softly chanting female voices float on the soundtrack, accompanied by electronic shrieks and thuds. At first, the movie looks like a graveyard horror flick, and then, as Jewish temple guards show up bearing torches, like a faintly tedious art film. The Jews speak in Aramaic, and the Romans speak in Latin; the movie is tedious art film....
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This essay was uploaded on 04/21/2008 for the course PHIL 337 taught by Professor Ryan during the Spring '08 term at Trinity College, Hartford.
- Spring '08
- The Bible