★ 7 / 10
This is a breathtaking piece of cinema. I
CinemaSerf
This is a breathtaking piece of cinema. I haven't read the text for over forty years, so I cannot swear to the accuracy with which Pasolini reflects the actual…
This is a breathtaking piece of cinema. I haven't read the text for over forty years, so I cannot swear to the accuracy with which Pasolini reflects the actual gospel, but what is immediately striking is just how aggressive his version of "Cristo" is. Enrique Irazoqui is undoubtedly a beautiful man to look at, but unlike in so many more commercial iterations of this story, his character is portrayed as a strong, demanding and forceful personality. His sermons are powerful instructions to, even condemnations of, the populace. Certainly there is love, but it is a tough love which only evolves as the story does. This characterisation is also surprisingly political. I wouldn't say he is simply to the left or to the right, as we might consider politics nowadays, but he definitely has strong views on corruption, of the venality of society and of the need to care for and to be cared for by each other. The delivery of this potent message hits the mark well. The dialogue is actually quite sparing, much of the audio comes from a mixture of classical music (Bach and Mozart feature prominently) along with themes than sound more African in origin. The photography is intense, no other word for it. The grand scale cinematography well complimented by the close, intimate imagery of the faces of the cast as the story unfolds in an unashamedly emotional (but not sentimental) fashion. I saw this recently again on a big screen and that only enhanced the vividness and vigour of the whole enterprise.
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★ 8 / 10
Minimal Yet Effective Drama of Jesus's Life
Graybell
Rendering Bible stories into film is a difficult task, but Pasolini's account of Matthew's Gospel is among the most successful. The narration of events in the…
Rendering Bible stories into film is a difficult task, but Pasolini's account of Matthew's Gospel is among the most successful. The narration of events in the Bible is generally quite sparse, with only the most salient details given; as a result, events are fraught with hidden depths and profundity. Medieval art gives a similar effect, using completely different techniques. Filmmakers of the Bible generally attempt to flesh out the stories to make them more "real," but the result is inevitably banal and overwrought at the same time. Pasolini uses a different approach. First of all, he adds almost nothing to the text of Matthew's Gospel, and all the dialogue and events are directly from Matthew. Next, it's filmed in black & white, and the acting, especially Jesus, is consistently understated. Many quiet shots of faces watching, reacting, or, in the case of Jesus, talking. In these ways, Pasolini succeeds, to some degree, in reproducing the effect of depth and transcendence found in the Bible. The music (from Bach, Blind Willie Johnson, and others) adds considerably to the power of the movie.
Pasolini's minimalist Jesus has an air of both humility and loftiness (as befitting one able to walk on water), but he is conspicuously lacking in emotion and expression. One might reply that Jesus (as God) doesn't share all our roller coaster emotions, but I see the New Testament Jesus as more of a Hamlet character, full of contradictory emotions. Pasolini's Jesus character's foreboding presentation could almost be seen as that of a young, conceited, dour, nihilistic Sophomore Philosophy student. A few quibbles: the Bible text describes large crowds of people following Jesus, but the movie only allows for a couple of dozen in most scenes. Also, in the movie, Jesus is often represented as preaching while he is walking, with his back turned away from his followers, who walk behind him. Finally, Mary the mother of Jesus is at most 20 when he is born, but she somehow becomes 70 years old during his ministry, when in fact she would have been only 50. With these reservations, then, I consider this the most successful Bible film I've seen.
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i am here haters. yes, i am for the people. and no I am not white nor a right-wing red neck. i am a Palestinian.