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The Passion of the Christ (2004)

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 27 wins & 21 nominations. See more awards »

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Cast

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

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 prefect of the Roman province of Judaea, 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 ... Written by Anthony Pereyra {hypersonic91@yahoo.com}

Plot Summary | Plot Synopsis

Taglines:

12 Hours That Changed the World See more »

Genres:

Drama

Motion Picture Rating (MPAA)

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

Parents Guide:

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Details

Country:

Language:

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Release Date:

25 February 2004 (USA)  »

Also Known As:

The Passion  »

Filming Locations:

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Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend:

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

Gross:

$370,782,930 (USA) (25 March 2005)
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Company Credits

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Technical Specs

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The line mentioned by Jesus to High Priest Caiaphas and others in this film - "I AM and you will see the Son of Man seated at the right hand of power and coming on the clouds of heaven." comes from Mark 14:62. This is also a reference to Jeremiah 4:13 where it says "Behold, he (God) shall come up as clouds, and his chariots shall be as a whirlwind: his horses are swifter than eagles. Woe unto us! for we are spoiled." This is interesting to note, because Elijah was taken by a chariot of fire in 2 Kings 2:11-12 and Elijah being taken by a chariot is also mentioned by Annas the priest in this film. Right before the destruction of Jerusalem in 70 AD (which was prophesied by Jesus Christ in Matthew 24, Mark 13, and Luke 21), chariots and troops of soldiers in their armor were seen running about among the clouds, and surrounding of cities. This incident was recorded by Josephus in Jewish Wars (Book Six), Tacitus in Histories (Book 5), Eusebius in his Ecclesiastical History (Book 3), and Jewish History Document "Sepher Yosippon" (Chapter 87 - Burning of the temple) written in Hebrew. God and his chariots are also mentioned in Isaiah 66:15, 2 Kings 6:17, Zachariah 6:1-6, and other verses in the bible. It must be noted that God is called "Lord of Hosts" more than 275 times in the bible. In New Testament, God is called "Lord of Hosts" in Romans 9:29 and in James 5:4. See more »

Goofs

When Mary cleans the tiles of the blood splatters from her son the blood is still liquid. Firstly it would have coagulated, secondly it would have dried in the heat. See more »

Quotes

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

Connections

Featured in Getaway: Episode #14.11 (2005) See more »

Soundtracks

Azeri
Written by Göksel Baktagir (as Goksel Baktagir) and Yurdal Tokcan
Performed by Göksel Baktagir (as Goksel Baktagir) and Yurdal Tokcan
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Frequently Asked Questions

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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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