'The Passion of the Christ' * * * with James Caviezel, Maia Morgenstern and Monica Bellucci. directed by Mel Gibson.
"The Passion of the Christ" brings to stark, savage reality everything from the syllabi of Catholic school religion classes. As a Catholic and product of Catholic schools, I see the film as nothing more than this. It is an intense and emotional visualization of the Stations of the Cross, and it moved me, but, like those classes, it did not rouse my spirit or shake my beliefs.
Mel Gibson's film chronicles the last 12 hours of Jesus' life, from arrest to crucifixion. There is controversy over the interpretation and presentation of the events, and everyone has or will have different opinions and reactions, depending on the extent of their knowledge and the type and intensity of their religious beliefs.
But one thing defies argument: "The Passion of the Christ" is an excruciating experience. It is a 126-minute movie composed almost exclusively of torture. Whereas all four Gospels contain a description of the Crucifixion in one sentence or phrase, Mel Gibson's film represents Jesus Christ's execution in agonizing detail.
Whether or not the detail is historically accurate is debatable, but textually it is lifted straight from the Gospels. In "The Passion of the Christ," as in the Gospels, it is the Jewish elders and leaders of the temple who demand Jesus' execution, citing his assertion that he is the son of God as his most egregious crime. That is how it is in Matthew, Mark, Luke and John; that is how it is in the movie.
There are gray areas, though. Critics say the film ignores the fact that scores of Jews were also crucified by the Romans (it does), that Pontius Pilate is portrayed sympathetically (he comes across as weak-willed more than anything) and that it is Gibson's intent to blame all Jews for the death of Jesus (it is not).
So the only concern that is left standing is the allegedly unfair depiction of Jewish leaders, what it means for Jews in general and if it will fuel anti-Semitism. In the face of the controversy, all that can be said is that the representation of the Jewish leaders is not the point of the movie.
Gibson's film portrays the elders as offended, angered, desirous of reparations for Jesus' blasphemy and instrumental in initiating the Crucifixion. But "The Passion of the Christ" does not dwell on this and, curiously, it is more about the death itself than how it was brought about. Whether or not it will encourage anti-Semitism is uncertain; in terms of plot points, it is only anti-Semitic to the extent the Gospels are. This raises the whole issue of intent versus result, and how one may not be indicative of the other.
Gray areas aside, Gibson certainly editorializes the Gospels' account. He takes the spare writing of the Scriptures and turns it into glossy, wrought and grand gestures. He adds the physical presence of Satan and demons. He employs slow motion, sweeping music and dramatic lighting. He contrasts the ferocity of the Stations of the Cross with softly lit, fleeting flashbacks of Jesus' life and ministry. During the Last Supper, Jesus is bathed in warm light as the score italicizes the emotion and meaning of the moment. Then the film jumps back quickly to Jesus falling under the weight of the cross - the soundtrack goes silent and the film speed slows to emphasize the moment in the same aggrandized manner. For all its adherence to the specifics of the Gospels, "The Passion of the Christ" is no documentary.
James Caviezel, in a selfless and entirely appropriate performance, has the almost impossible job of constantly acting in agony. Jesus is spat upon, mocked, beaten, stoned, shredded by whips, crowned with thorns, made to carry a cross uphill and then nailed to it. Caviezel must act these atrocities, and he does so with great humility and purpose.
Most moving, though, is Maia Morgenstern's quiet portrayal of Jesus' mother, Mary. As a Catholic, I was taught that Jesus died for my sins but did not have to, which is the ultimate sign of God's compassion and love. But most loving and compassionate is the character of Mary - an entirely human woman who knew what her son was destined for and accepted it. When I think of the essence of faith, I think of Mary, who is human, not of Jesus, who is God. Morgenstern barely has a word of dialogue, never rends her clothing or cries to the heavens in agony, but watches tearfully as her faith is given the ultimate test. I was moved by this most of all.
But when "The Passion of the Christ" concludes with a brief shot of Jesus' resurrection, I was left unmoved, and disturbed only by the fact that I was unmoved. Perhaps the film is too narrow in its focus, or maybe I am too narrow in my expectations.
But the title itself should be fair warning. This is a movie about the passion and zeal of Jesus' death, and not necessarily of his life. Gibson's goal is to manifest this in the detail, intensity and emotion the Gospels do not provide. He succeeds.
