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This is tough stuff, capable of unsettling adults and potentially traumatizing young viewers.
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The torture of Jesus is presented in such a brutal, unflinching manner that it's almost impossible not to look away as chunks of flesh are ripped out by a scourge, and the bloody, mangled skin is shredded to appear like a grotesque parody of ground meat. It's easy to be desensitized by extreme, graphic violence in a cartoon-like setting (like the Terminator movies, for example), but that's not what we're getting here. There's no question that Gibson is pushing the envelope, going as far as he can without emptying the auditorium. The violence in the film is as necessary as it is disconcerting. That's the common trap that The Passion of the Christ avoids. Most of the film's text is taken from the four gospels (supplemented by the visions of two nuns - the 17th century Mary of Agreda and the 18th century Anne Catherine Emmerich), but at no time did I feel as if Gibson was preaching. In essence, The Passion of the Christ represents a vivid, stylized journey through the 14 Stations of the Cross - a trip made by many devout Catholics every Good Friday. This is proof, if any is needed, that it is possible to craft a fine motion picture that falls cleanly within the bounds of mainstream religious doctrine. The film also does not come across as a valentine to Evangelical Christians. In fact, Caiphas has plenty of competition for the role of villain - the Roman centurions who beat and brutalize Jesus are presented in an even grimmer light. Although the high priest Caiphas is depicted as a villainous individual, determined to bring about Jesus' death, he is not shown in any way to represent the entire nation of Jews.
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(Ironically, this is the same kind of negative wave that results when Christian groups attack a movie for being anti-Christian - like Martin Scorsese's The Last Temptation of Christ or the Pythons' The Life of Brian.) Here, the controversy is unwarranted. Many (although not all) of those at the forefront of this accusation have not seen the movie. The most potentially damaging charge to have been leveled against this film is that it is anti-Semitic. It leaves an indelible imprint on the psyche viewers of this movie may never look at a crucifix in quite the same way. The Passion of the Christ is a gripping, powerful motion picture - arguably the most forceful depiction of Jesus' death ever to be committed to film.
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(The controversy, whether real, concocted, or some combination of the two, has provided an unprecedented level of free publicity.) So let me cut to the chase before backing up and looking at some of these appendage elements. There are so many ancillary issues surrounding the release of Mel Gibson's The Passion of the Christ (née The Passion) that they threaten to dwarf the 127-minute movie that lies at the maelstrom's epicenter. This evangelical enthusiasm for The Passion of the Christ may seem a little surprising, in that the movie was shaped from. (Many illustrations for this issue of CT come from that book.) And Tyndale House has reinforced the movie's influence by publishing The Passion, a coffee table book that integrates still photos from the filming with a harmony of the Passion accounts drawn from the New Living Translation. Moving responses from ordinary believers and Christian celebrities have circulated widely on the Internet, urging believers to see the movie. Public figures as diverse as Willow Creek Community Church's pastor Bill Hybels and bluegrass musician Ricky Skaggs have hosted special screenings for pastors. Endorsements have poured in from evangelical leaders like Focus on the Family president Donald Hodel and Harvest Crusades evangelist Greg Laurie. Promoters have produced a Passion lapel pin and witnessing card. In January, Gibson told CT that the film had already been scheduled to open on close to 3,500 screens-that places it squarely between Finding Nemo and Return of the King at their peak distribution last year. Gibson has filmed the Passion with his trademark force-and for those whose ancient language skills are a bit rusty, he has added subtitles. At first it seemed like it might just be a quirky art film: a film about Jesus' passion using only Aramaic and Latin-and with no subtitles.īut what started out as news of the weird has turned into a powerful and popular film that is likely to be a major milestone in cinematic history. In the history of modern evangelical enthusiasms, Mel Gibson's The Passion of the Christ seems to be joining WWJD bracelets and Promise Keepers' conferences as cultural markers.
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