IMDb > The Gospel According to St. Matthew (1964)
Il vangelo secondo Matteo
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The Gospel According to St. Matthew (1964) More at IMDbPro »Il vangelo secondo Matteo (original title)

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Overview

User Rating:
7.8/10   6,211 votes »
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Release Date:
2 October 1964 (Italy) See more »
Genre:
Plot:
The life of Jesus Christ according to the Gospel of Matthew. Pasolini shows Christ as a marxist avant-la-lettre and therefore uses half of the text of Matthew. Full summary » | Add synopsis »
Awards:
Nominated for 3 Oscars. Another 8 wins & 4 nominations See more »
User Reviews:
There is no better film about Jesus Christ See more (58 total) »

Cast

  (in credits order) (verified as complete)
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Directed by
Pier Paolo Pasolini 
 
Writing credits
Pier Paolo Pasolini 

Produced by
Alfredo Bini .... producer
 
Original Music by
Luis Bacalov 
 
Cinematography by
Tonino Delli Colli 
 
Film Editing by
Nino Baragli 
 
Production Design by
Luigi Scaccianoce 
 
Set Decoration by
Andrea Fantacci 
 
Costume Design by
Danilo Donati 
 
Makeup Department
Marcello Ceccarelli .... makeup artist
Lamberto Marini .... assistant makeup artist
Mimma Pomilia .... hair stylist
 
Production Management
Manolo Bolognini .... production manager
Eliseo Boschi .... production supervisor
Enzo Ocone .... production manager
 
Second Unit Director or Assistant Director
Maurizio Lucidi .... assistant director
Paolo Schneider .... assistant director
Vincenzo Cerami .... trainee assistant director (uncredited)
Elsa Morante .... assistant director (uncredited)
 
Art Department
Dante Ferretti .... assistant production designer
 
Sound Department
Fausto Ancillai .... sound mixer
Mario Del Pezzo .... sound
 
Visual Effects by
Ettore Catalucci .... title & optical effects (SPES) (as E. Catalucci)
 
Camera and Electrical Department
Giovanni Canfarelli Modica .... first assistant camera (as Gianni Canfarelli Modica)
Vittorugo Contino .... assistant camera (as Victor Hugo Contino)
Angelo Novi .... set photographer
Giuseppe Ruzzolini .... camera operator
 
Costume and Wardrobe Department
Piero Cicoletti .... assistant costumer
Piero Farani .... wardrobe
 
Editorial Department
Andreina Casini .... assistant editor
 
Music Department
Luis Bacalov .... music arranger (as Luis E. Bacalov)
 
Other crew
Lina D'Amico .... script supervisor
Bruno Frascà .... production secretary
Vincenzo Taito .... administration inspector
Cesare Barbetti .... voice dubbing (uncredited)
Gianni Bonagura .... voice dubbing: Marcello Morante (uncredited)
Pino Locchi .... voice dubbing: Mario Socrate (uncredited)
Emanuela Rossi .... voice dubbing: Rossana Di Rocco (uncredited)
Enrico Maria Salerno .... voice dubbing: Enrique Irazoqui (uncredited)
 
Thanks
Pope John XXIII .... dedicatee
 
Crew verified as complete


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Additional Details

Also Known As:
"Il vangelo secondo Matteo" - Italy (original title)
See more »
Runtime:
137 min | USA:91 min (edited version)
Country:
Language:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:
Filming Locations:
Company:

Did You Know?

Trivia:
In keeping with his idea of Jesus Christ as the greatest revolutionary of all time, Pier Paolo Pasolini considered casting Jack Kerouac or Allen Ginsberg in the role. He changed his mind when he met Enrique Irazoqui, a Spanish student of literature, who has written a thesis about Pasolini's novel "Ragazzi di vita" and was very curious to meet him.See more »
Goofs:
Anachronisms: When they are taking Christ down from the cross, in the distance you can see a car driving around a corner.See more »
Quotes:
Christ:Many are called, but few are chosen.See more »
Movie Connections:
Version of Behold the Man (1935)See more »
Soundtrack:
Matthäus Passion (BWV 244)See more »

FAQ

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70 out of 81 people found the following review useful.
There is no better film about Jesus Christ, 7 September 2001
Author: zetes from Saint Paul, MN

Well, maybe there is, but I've never caught a glimpse of it. Most movies about him are fundamentally wrong. In a religion which has totally turned its back on the line "it is easier for a camel to pass through the eye of a needle than for a rich man to get into the kingdom of Heaven" (in fact, I am surprised that some pope or other did not officially removed that line from the Bible; be sure that this film retains it and has it come right out of the mouth of Jesus Christ, who, I assume, was its speaker in the Bible), movies about Jesus are generally overproduced messes that do nothing but retell the story with much less effect than the Bible itself has. Even Martin Scorsese's version of the story, The Last Temptation of Christ, suffers from this. Although, despite its flaws, it has a lot more power than most films about these same events.

I do not understand why Pier Paolo Pasolini, who was a Marxist, a homosexual, and an atheist, made this film. But, despite his reason, it has turned out to be a great masterpiece. No one has ever attempted to set the story in its proper setting, at least not to my knowledge. The characters here are certainly semitic and Middle Eastern, unlike the entirely Anglo-Saxon casts of every other Jesus film or even any other religious film. Also, the cast, made up of unprofessional actors including Pasolini's own mother as the elder Mary, has not one beautiful face amongst it, except for maybe the actress who plays the younger Mary; she is quite beautiful. These faces and bodies are real: unattractive, harsh and worn. Teeth are not straight and white, but crooked and discolored as they certainly would have been before dentists were around. Clothing is not beautifully colored, but plain and tattered. Only the richest people could afford dye for clothing. Pasolini has also forsaken the traditional look of Jesus Christ. While the facial hair remains similar, although maybe lessened, the long hair is dropped in favor for shorter hair, which is the way that people wore it at the time. The image of the long-haired Jesus is a case of syncresis, that is, the mixing of religions; that image was adopted from the ancient Greek depictions of Bacchus, the god of wine.

What results is an account as straighforward as can possibly exist. With Pasolini's own personal convictions, the audience does not have to feel like they are being preached at. Christians, unless they are so foolish as to believe that Jesus WAS an Anglo-Saxon, should be moved to tears. Nonbelievers (anyway, those who appreciate film) will reel at the marvelous use of classical music (including, strangely enough, Prokofiev's music from Eisenstein's Alexander Nevsky), the greatness of the actors, especially the man who plays Christ (I've heard that he was a Marxist truck driver), and the beautiful simplicity of Pasolini's direction, sort of a perfect mix between Italian Neorealism and French New Wave. I myself, a staunch atheist, found it very powerful. 10/10.

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A Masterpiece. This Is Poetry. jeremiah28
curiosity doesn't always kill the cat andre_the_GIANT
new disciples hylozoic
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Looking forward to new transfer!!!!! FeelingSoSad
Song at the opening credits mitsosbach
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