Zozo
"Malcolm in the Middle"

The Passion of the Christ (2004)
Drama
AssyrianNeo-Aramaic
"By his wounds, we were healed. "
A film detailing the final hours and crucifixion of Jesus Christ.
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
Claudia Gerini Claudia Procles
Fabio Sartor Abenader
Giacinto Ferro Joseph of Arimathea
Olek Mincer Nicodemus
Sheila Mokhtari Woman in Audience
Lucio Allocca Old Temple Guard
Paco Reconti Whipping Guard
Adel Bakri Temple Guard
Luciano Dragone Second Man
Adel Ben Ayed Thomas
Franco Costanzo Accuser
Lino Salemme Accuser
Emanuele Gullotto Accuser
Francesco De Rosa Accuser
Maurizio Di Carmine Elder
Francesco Gabriele Elder
Angelo Di Loreta Elder
Federico Pacifici Elder
Roberto Santi Elder
Giovanni Vettorazzo Elder
Ted Rusoff Elder
Tom Shaker Eyepatch
Andrea Coppola Grizzled Beard
Romuald Andrzej Klos Roman Soldier (as Romuald Klos)
Giuseppe Lo Console Roman Soldier
Dario D'Ambrosi Roman Soldier
Luciano Federico Man in Audience
Omar Capalbo Boy
Valerio Esposito Boy
Antonello Iacovone Boy
Nicola Tagarelli Boy
Ivan Gaudiano Boy
Chokri Ben Zagden James
Roberto Bestazzoni Malchus
Luca De Dominicis Herod
Pietro Sarubbi Barabbas
Abel Jafri 2nd Temple Officer (as Abel Jafry)
Lello Giulivo Brutish Roman
Emilio De Marchi Scornful Roman
Roberto Visconti Scournful Roman
Sergio Rubini Dismas
Francesco Cabras Gesmas
Andrea Refuto Young Jesus
Giovanni Capalbo Cassius
Matt Patresi Janus
Sabrina Impacciatore Seraphia
Daniela Poti Young Girl
Jarreth J. Merz Simon of Cyrene
Noemi Marotta Woman
Rossella Longo Woman
Davide Marotta Baby
Rosalinda Celentano Satan
Danilo Di Ruzza Pilate's Servant
Vincenzo Monti Herod's Courtier
Danilo Maria Valli Herod's Courtier
Nuot Arquint Herod's Courtier
Abraam Fontana Herod's Courtier
Valerio Isidori Herod's Courtier
Paolo Dos Santos Herod's Boy
Arianna Vitolo Herod's Court Woman
Gabriella Barbuti Herod's Court Woman
Ornella Giusto Herod's Court Woman
Michelle Bonev Herod's Court Woman
Lucia Stara Herod's Court Woman
Evelina Meghangi Herod's Court Woman (as Evelina Meghnagi)
Francis Dokyi Herod's Servant (as Francis Dokyi Baffour)
Producer: Bruce Davey,Mel Gibson,Stephen McEveety
Writer: Benedict Fitzgerald,Mel Gibson
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.

Personal
Nr of disks/tapes:2
User credit 1:1001 movies you must see before you die
User credit 2:1009
Storage device:Divx 5
Loan
Movie
Imdb rating: 7.2
Musician: John Debney
Running time: 127 min / 120 min (cut)
Technical
Subtitles: Svenska
Everything else:
Last modified: 2008-01-05 22:45:16