Gibson’s passion
drives film to glory
"The Passion of the Christ"
Rated R
Opening tomorrow in local theaters
Rarely do filmmakers feel so passionate about a story that they ignore studios' advice to avoid filming it, especially when the story has a proven track record -- of failure and controversy.
In "The Passion of the Christ," Mel Gibson's film detailing the last 12 hours of Jesus' life, Gibson doesn't simply tread water, but charges over it, miraculously creating that rare masterpiece that combines the intimacy of human compassion and forgiveness, political intrigue and the epic qualities of a grand story.
The film, starring Jim Caviezel as Jesus and Maia Morgenstern as his mother Mary, is a mesmerizing, often difficult-to-watch and visceral drama that fearlessly grabs at the gut, achieving rare emotional depth while simultaneously horrifying viewers with its graphic depiction of Jesus' crucifixion.
Gibson, the Oscar-winning director of "Braveheart" and star of numerous action-adventure films, has done little to soften the events, choosing to employ its sheer awfulness and accompanying scripture to ensure the audience knows what Jesus endured.
THE FILM BEGINS in the Garden of Gethsemane after the Last Supper, where Jesus is praying to his father and learns his fate. The scene foreshadows Jesus' future and sets an ominous mood through sets resembling the Passion paintings of Italian Baroque painter Caravaggio, through the lens of legendary cinematographer Caleb Deschanel.
Jesus is so terrified of his impending torture, loneliness and betrayals that, in the garden, he literally sweats blood while being secretly watched by an androgynous Satan (played by Italian actress Rosalinda Celantano) who can shape-shift into many forms, spreading fear and doubt.
In a courageous move, Gibson has his actors recite their dialogue in the original dialects of the time, Aramaic and Latin, and the effect is startling. With the help of English subtitles, "The Passion of the Christ" forces the audience to be more actively involved in the cinematic creative process.
Jim Caviezel turns in a stunning, well-crafted and understated performance that could easily have diminished into caricature under the hand of a lesser director. Caviezel may be the most authentic-looking Messiah ever on the big screen.
The film emphasizes Jesus' suffering, putting the film into the tradition of Passion plays which, from their 11th-century roots, dramatized Jesus' arrest, trial, scourging, crucifixion and resurrection. Gibson's film does the same thing but with more vigor, thanks to contemporary filmmaking technologies, and, certainly, "The Passion of the Christ" concentrates a whole lot more on violence.
Gibson's film also shows more of the political drama where the Pharisees, the Jewish temple leaders, wanted Jesus gone because he threatened their power base.
IF THERE IS a weakness in the film, it's that Gibson treats Pontius Pilate (Hristo Naumov Shopov), the Roman emperor presiding over Judea, too lightly. The film shows Pilate as a weak and ineffectual ruler when, historically, he was cruel and decisive. Here, it's the Jewish high priest Caiphas (Mattia Sbragia) who bullies Pilate by inciting an angry mob to crucify Jesus.
But Gibson clearly spreads the blame for Jesus' death on everyone -- Pharisees, Pilate, Roman soldiers, all sinners.
The scourging scene lasts more than 15 minutes, turning Jesus' entire body into hanging pieces of skin. Caviezel's depiction of the bloodied-but-never-bowed Jesus -- one eye swollen shut, the thick crown of thorns sending streams of blood down his face -- shows the agony of human cruelty and ecstasy of human compassion and forgiveness.
In spite of the horrific scenes, "The Passion of the Christ" never glorifies violence or uses it for sensationalistic purposes, but to demonstrate what Jesus endured for the sins of man. Even so, it is not a film for children.
Gibson, who financed the film himself after no studio would touch it, has set a benchmark of filmmaking bravery. To his credit, Gibson, a devout Catholic, doesn't diminish his film with blatant proselytizing.
As for charges of anti-Semitism against the film made before any public screenings, nowhere does Gibson or co-writer Benedict Fitzgerald blame one group or person for Jesus' fate.
The film is likely to have viewers of all faiths to do some soul-searching.
In one small detail, it is Gibson's hand which grasps the nail that pierces Jesus' left palm during the crucifixion scene. It was the filmmaker's way of showing that he, too, is responsible for Jesus' death.
"The Passion of the Christ" is an unforgettable filmgoing experience.
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