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

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7.9/10   5,983 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:
Best Screenwriter Makes for Best Jesus Movie See more (57 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:
Soundtrack:
Concerto for violin and oboe in d minor (BWV 1060)See more »

FAQ

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27 out of 34 people found the following review useful.
Best Screenwriter Makes for Best Jesus Movie, 17 April 2003
Author: jimtheven

We have reached a point at which the main point of a movie about Jesus has to be that he was "human". As if his "humanity", in itself, was any more remarkable than that of Barabbas or Philip the Tetrarch or the Man Born Blind. A recent TV miniseries drew roughly 10 % of scenes and dialogue from the Gospels. Most of it was devoted to making the Second Person of the Blessed Trinity look like a slacker goofball, a likable but pitiful example of air-headed arrested development. The approach of moviemakers to the Figure of Jesus has always been crooked. Now it's just gotten out of hand.

In the 60s, they wanted to have it both ways. To make Jesus THE Man, the Son of Man, as it were, in clouds of glory, provoking supernal modes of a Phrygian nature, but in a secularized, not a "dogmatic" way. Things were bound to get worse for the Incarnate Word in cinema. The trick to the post-SUPERSTAR travesties is to diminish Jesus by making Him out to be infantile, weak, unstable, uncertain, neurotic, stupid... and answering all orthodox objections with an appeal to the idea of His True Humanity. "Oh, I suppose YOU think the Man was made of stained glass, that He didn't sweat and weep and laugh and sing and at least WANT to have sex with Mary Magdalene and maybe even the 12 year old daughter of Jairus..."

THE GOSPEL ACCORDING TO ST MATTHEW, with roughly 99% of its dialogue and 90% of its very images coming from the eponymous text,puts to shame all other Jesus Pictures on the level of basic conception. It alone has given itself over to the Material, to the Story. It is the only movie on Jesus made in good faith with Him as He is in the Gospel. That's why it's the only one which really works on a dramatic level. With great and terrible justice of at least a poetic kind, the others fail dramatically for having tried to serve two masters: the Gospel Christ and Modernistic, Liberal Christian reductionism in His regard. MATTHEW is the only one whose 33 year old itinerant Preacher matches up perfectly with its hours-old Angel-attending, Magi-sought Celestial Babe. (THE GREATEST STORY EVER TOLD fails most miserably in this regard. It robs Jesus of all glory, all Personal interest. No WAY this kindly but annoyingly sententious unmarried uncle or history prof, called forth Glorias In Excelsis once upon a time...)

It is far from perfect. The scenes of Jesus just standing there preaching get wearisome. Too much of the direction seems deliberately bizarre. Those are obviously dolls being tossed about like footballs in the Massacre of the Innocents scene.

But what brilliant gold on the other side of the scale!

The Face of Jesus, dominated by amazingly piecing eyes...

The strong yet suave voice provided by Enrico Salerno.

Jesus' air of otherworldly authority focused with terrible intensity on His Father's business in this world...

The intelligence and the compassion and the Rabboni-worthy anti-authoritarianism demonstrated in Pasolini's own marginal glosses to Matthew's narrative... The sadness and fear of a peasant girl both pregnant and unmarried... The mute qualms of young men, soldiers, before they are forced to render unto Caesar (Herod the Great, that is) something which SS Peter and Paul themselves might not so readily have declared not to be Ceasar's... (No Christian artist before Pasolini seems to have considered that the "cruel soldiers" of unreflective homiletics and iconography were ORDERED to be cruel by the lawful Powers That Be... Maybe for Pasolini this touch was a Marxist thing. But it should be a Christian thing...)

Magnificent sequences. The young fishermen brothers James and John racing unknowingly down a beach, nets unfurled, towards their Rendevous with Immortal Glory... The way in which the very spaces between Jesus and his hearers in one wind-blown preaching scene are made to convey the idea of His words being carried off on the wind...

And you want the human touch? After this Apocalyptically stern Master of All warns some hapless farmers he happens upon to repent, leaving them to look after him in shock and awe, HE SHOOTS A GLANCE BACK AT THEM! This beautifully natural and "human" moment puts to shame all the others' tendentious "souping-up" of the Sacred Humanity.





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