The Passion of the Christ (2004)

Director:

Mel Gibson

Writers:

Benedict Fitzgerald (screenplay) and
Mel Gibson (screenplay)

Release Date:

25 February 2004 (USA)

Genre:

Drama

Tagline:

By his wounds, we were healed.

Plot:

A film detailing the final hours and crucifixion of Jesus Christ.

Plot Keywords:

Jerusalem | Trial | Judas | Roman | Last Supper

Awards:

Nominated for 3 Oscars. Another 17 wins & 10 nominations

Cast

James Caviezel	...	Jesus
Maia Morgenstern	...	Mary
Christo Jivkov	...	John
Francesco De Vito	...	Peter
Monica Bellucci	...	Magdalen
Mattia Sbragia	...	Caiphas
Toni Bertorelli	...	Annas
Luca Lionello	...	Judas
Hristo Shopov	...	Pontius Pilate (as Hristo Naumov Shopov)
Claudia Gerini	...	Claudia Procles
Fabio Sartor	...	Abenader
Giacinto Ferro	...	Joseph of Arimathea
Aleksander Mincer	...	Nicodemus (as Olek Mincer)
Sheila Mokhtari	...	Woman in Audience
Lucio Allocca	...	Old Temple Guard

Also Known As:

The Passion Recut (International: English title) (cut version) (USA) (recut version)
The Passion (USA) (working title)
The Passion of Christ (USA) (working title)

MPAA:

Rated R for sequences of graphic violence.

Runtime:

127 min | 120 min (cut)

Country:

USA

Language:

Aramaic | Latin | Hebrew

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

DTS | Dolby Digital | SDDS

Certification:

Portugal:M/16 | Japan:PG-12 | Australia:M (edited version) | China:(Banned) | Argentina:16 | Australia:MA | Brazil:14 | Canada:13+ (Quebec) (edited version) | Canada:16+ (Quebec) | Canada:18A | Chile:14 | Denmark:15 | Finland:K-18 | France:-12 | Germany:16 | Hong Kong:III | Iceland:16 | Ireland:15A (edited version) | Ireland:15PG (original rating) | Ireland:15 (video rating) | Italy:T | Malaysia:(Banned) (except for Christians) | Mexico:C | Netherlands:16 | New Zealand:R15 (edited version) | New Zealand:R16 (original rating) | Norway:15 | Peru:14 | Philippines:PG-13 | Poland:15 | Singapore:M18 | South Korea:15 | Spain:18 | Sweden:15 | UK:15 (re-rating) (edited version) | UK:18 (original rating) | USA:R (original rating) (certificate #40366) | USA:Unrated (edited version)

Filming Locations:

Basilicata, Italy

Company:

Icon Productions

Trivia:

In a rarity for Hollywood releases, re-entered the #1 spot at the box office for the weekend of Good Friday, 2004.

Goofs:

Continuity: In the opening scenes, when Jesus prays and gets arrested, his eyes are blue instead of computerized brown.

Quotes:

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

Movie Connections:

Referenced in "The Thick of It: Spinners and Losers (#2.2)" (2007)

Soundtrack:

Azeri

Film making at its most powerful

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.