La vie et la passion de Jésus Christ (1903)

Directors:

Lucien Nonguet (co-director)
Ferdinand Zecca (co-director)

Release Date:

26 March 1904 (USA)

Genre:

Short | Biography | Drama

Plot:

1. THE ANNUNCIATION. The Angel of the Lord appears to Mary, announcing the birth of a child, which shall be called the "Son of God." 2...

Plot Keywords:

Jesus Christ | Religion | Biblical | Film D'art | Christian Film

Cast

Madame Moreau	...	Virgin Mary
Monsieur Moreau	...	Joseph

Also Known As:

La passion (France) (alternative title)
La passion de Notre-Seigneur Jésus Christ (France) (alternative title)
Life of Our Savior (USA) (reissue title)
Passion and Death of Christ (USA) (DVD title)
The Life and Passion of Christ (International: English title)
The Passion Play (USA)
Vie et passion du Christ (France) (alternative title)

Runtime:

44 min

Country:

France

Language:

French

Color:

Color (tinted and stencil colored) | Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Company:

Pathé Frères

Trivia:

With the Passion Play released by Siegmund Lubin in 1903, the first dramatic feature-length movies, although some film historians disqualify them because each was released in multiple parts.

Movie Connections:

Featured in Historia del cine: Epoca muda (1983) (V)

The Chartres Charter

Few people, I think, appreciate how the bible has been reinvented in the last century. Until this very film, what we had were words, stories in words. For centuries, those written stories were illustrated in static icons and symbols complex and simple. With this film, we began a new era, where religion is cinematic. American Fundamental Christianity and Indian neoHinduism are currently in the lead, nearly completely transformed by the moving icon and the ghostly eye. Prayer has literally been redefined and no amount of thumping will restore the imagination as a personal relationship with God again. Not one with an INNER eye.

Its why the Fundamentalist Film School down the road from me at Pat Robertson's empire is so interesting. They change the thing by bearing witness, in a sort of quantum effect.

It all started here, but you won't find much to indicate so. What we have with this first instance are two things. First is the implicit proposal that as "the greatest story," it deserved the greatest, fullest, longest treatment.

The second is the interesting stuff. This is literally closer to moving stained glass than films of today. Its quite beautifully painted if you see it that way. Its staged as tableaux, with little movement and none from the camera which is at eye level. There are "miraculous" appearances and disappearances, which is how the filmmakers would have seen the promise of film. The much noted fades are harder to notice. I'll take the historian's word that these French fellows invented the fade. It is remarkable how they worked it though with the color. Because you see the color fade, so they must have painted before optically splicing. Its a mystery to me.

I'll just take it on faith.

Ted's Evaluation -- 2 of 3: Has some interesting elements.