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The Passion of the Christ (2004)

R  |   |  Drama  |  25 February 2004 (USA)
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Ratings: 7.1/10 from 170,767 users   Metascore: 47/100
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Depicts the final twelve hours in the life of Jesus of Nazareth, on the day of his crucifixion in Jerusalem.



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Nominated for 3 Oscars. Another 22 wins & 19 nominations. See more awards »



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Cast overview, first billed only:
Mattia Sbragia ...
Toni Bertorelli ...
Hristo Shopov ...
Pontius Pilate (as Hristo Naumov Shopov)
Giacinto Ferro ...
Aleksander Mincer ...
Nicodemus (as Olek Mincer)
Sheila Mokhtari ...
Woman in Audience
Lucio Allocca ...
Old Temple Guard


A depiction of the last twelve hours in the life of Jesus of Nazareth, on the day of his crucifixion in Jerusalem. The story opens in the Garden of Olives where Jesus has gone to pray after the Last Supper. Betrayed by Judas Iscariot, the controversial Jesus--who has performed 'miracles' and has publicly announced that he is 'the Son of God'--is arrested and taken back within the city walls of Jerusalem. There, the leaders of the Pharisees confront him with accusations of blasphemy; subsequently, his trial results with the leaders condemning him to his death. Jesus is brought before Pontius Pilate, the Roman Governor of Palestine, for his sentencing. Pilate listens to the accusations leveled at Jesus by the Pharisees. Realizing that his own decision will cause him to become embroiled in a political conflict, Pilate defers to King Herod in deciding the matter of how to persecute Jesus. However, Herod returns Jesus to Pilate who, in turn, gives the crowd a choice between which prisoner ... Written by Anthony Pereyra {}

Plot Summary | Plot Synopsis


By his wounds, we were healed. See more »



Motion Picture Rating (MPAA)

Rated R for sequences of graphic violence | See all certifications »

Parents Guide:



Official Sites:



| |

Release Date:

25 February 2004 (USA)  »

Also Known As:

The Passion  »

Filming Locations:


Box Office


$30,000,000 (estimated)

Opening Weekend:

$2,305,089 (Australia) (27 February 2004)


$499,263 (USA) (25 March 2005)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


| (cut)

Sound Mix:

| |


Aspect Ratio:

2.35 : 1
See  »

Did You Know?


Mel Gibson:  Gibson's hands nail Christ to the cross during the Crucifixion scene. Gibson said "It was me that put him on the cross. It was my sins" that put him there. According to special edition commentaries, Gibson also supplied the foot of Jesus (washed by Mary Magdalene) and the arms that tie Judas' suicide rope. His crying, screaming voice is heard during the latter scene. See more »


When Jesus is shackled to the post and his beating is about to commence, the Roman to his left is standing parallel with him. But when instructed to begin he is now several feet behind him. See more »


[first lines]
Jesus: Peter. You could not watch even one hour with me?
See more »

Crazy Credits

The movie doesn't begin with credits, but only with a verse from the Bible: "He was wounded for our transgressions, crushed for our iniquities; by His wounds we are healed." Isaiah 53; 700 B.C. See more »


Referenced in Greek: 47 Hours and 11 Minutes (2008) See more »


Written by Goksel Baktagir and Yurdal Tokcan
Performed by Goksel Baktagir and Yurdal Tokcan
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Film making at its most powerful
29 July 2004 | by (England) – See all my reviews

It took me a long while to decide whether to see The Passion of the Christ. It had been my intention to since Mel Gibson first announced the project, but endless reports of the film's unflinching brutality made me fear it might be too much to bear. I eventually decided, however, that whether I really wanted to or not, this was a film I needed to see. It took me two viewings to really get a grip on it, so intense were the emotions it provoked in me. Even now, weeks later, re-examining it in detail is still deeply affecting. For those few still unaware, the film details the last twelve hours in the life of Christ. Its dialogue is entirely in Latin and Aramaic, with English subtitles, a remarkably bold decision by Gibson, and one that pays dividends. On one level it unites an international cast, sparing us any clashing accents, and gives the film a greater sense of authenticity. On another, it forced Gibson and his team into a very visual form of storytelling; even amongst the carnage there are shots of aching beauty.

Huge credit must go to the cast for mastering the language, and employing it in such universally excellent performances. As Jesus, James Caviezel has the immense task of embodying the most important figure in human history, and often doing so with little dialogue, and one eye swollen shut. Despite these handicaps Caviezel delivers a performance of great emotional depth, embodying quiet nobility and sacrifice. The performance that really stood out was that of Maia Morgenstern as Mary. The pain she conveys through her large and expressive eyes is heart-breaking, as she is forced to watch her child endure the most unimaginable suffering. Yet throughout the film she maintains an almost luminescent beauty, entirely befitting the mother of God.

One of the themes of the story emphasised by the film is the bond between Jesus and Mary. One flashback, found nowhere in the Bible, details the mundane routine of Jesus being called in from carpentry by His mother to eat. It was an immensely powerful reminder that for all He was the Son of God, Jesus was also the son of an ordinary woman, who He loved as any child loves its mother. It was also from this vein that the most powerful moment of the film sprang. As Jesus carries His cross, Mary begs John to get her closer to Him. She emerges into His path just as He fall under the weight of the cross. She runs to His aid, and as she does so the film cuts between this, and a similar moment when Jesus was a child and fell outside the house. While she could offer him protection then, now she is powerless; she weeps as the guards thrust her roughly away from her son, and so do we.

It is moments such as these that make the film so much more than the orgy of violence its detractors claim. For example, Peter's panicked betrayal, and subsequent horrified realisation of what he has done is handled in such a way as to move one to tears. There is also an immensely poetic moment near the film's end, in which the camera tracks the progress of a single drop of rain from miles above Golgotha, which falls as Jesus breathes His last: a teardrop from Heaven.

As a film, The Passion of the Christ is excellent; as a religious experience it is even better. Gibson has come under attack for focusing merely on Jesus' death, and omitting His message of love - this criticism is both unfair and ill-judged. In fact, he strikes the perfect balance, including flashbacks at pivotal moments of the film to events such as Jesus washing the disciples' feet, the Sermon on the Mount, and the Last Supper. These remain very true to the text, with quotes such as "You are my friends, and the greatest love a man can have for his friends is to give his live for them" (John 15:13) incorporated whole and delivered beautifully.

Even is there were no flashbacks, however, the point of the film would remain, and it is a vitally important one. It serves as a powerful reminder of the reality of what happened: Jesus did not merely die for us, He was killed by us in the most terrible way imaginable. It is something that can easily be lost through over familiarity with the text, and the flowery nature of other representations, but which must not be forgotten.

It has been said that "If Christ be not risen, then our faith is in vain", and the film has also been attacked for devoting just a few minutes to the Resurrection. Such criticism, however, betrays a very narrow minded approach; the manner in which this sequence is filmed conveys the full thematic significance it.

Perhaps the film's greatest impact has been to get me to pick up the Bible again, and do so with a new faith and understanding. And for that Gibson deserves nothing but praise.

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