Review: The Passion of the Christ

Never has a film arrived with so much baggage as Mel Gibson's polarizing, controversial account of the final 12 hours in the life of one of history's most renowned (and challenged) prophets. Amid accusations of anti-Semitism, renunciations of the strange beliefs of Gibson's devoutly Catholic father and Gibson's own bizarre public appearances, The Passion of the Christ, finally, comes to be judged.

Most will view the film through already-colored glasses. The faithful will almost certainly embrace it as a testimonial to their beliefs, all the while cringing at Gibson's gory, horror-show reenactment of the torture and crucifixion of Jesus. Christianity, at its heart, is about this very event...for those who believe, there is no more powerful image than the one who suffered for their sins.

I find myself in an interesting position as I contemplate the picture. I'm familiar with the Scriptures, as I was raised in a Christian home, but I no longer practice the beliefs of my parents. As a "nonbeliever", what could I gain from The Passion?

As it turns out, more than I bargained for. Gibson's film is, pun unavoidable, passionate. Rarely has a contemporary filmmaker so wholeheartedly put himself or herself so deeply into the work that appears on screen. As a filmmaker, Gibson has never struck me as anything but mediocre.Braveheart, that rabble-rousing, spirit-soaring epic of true love (both of woman and country) was riveting but cinematically bland. Throw dirty men, lots of swords, blood, horses, mix, puree, serve cold.

The Passion of the Christ represents one of the most remarkable jumps in improved talent that I can recall. Here, Gibson is a supremely confident artisan. His film is boldly experimental, jarring, breathtaking...and brutal. Never has Christ's death been so vividly portrayed. But the brutality is tempered with some wonderfully rendered flashbacks of Jesus at various points in his life. One of them, perhaps my favorite scene in the film, shows Jesus as a young man, a craftsman, playfully joking with his mother, Mary...never before has a filmmaker shown Jesus to be so human. Another sequence that cuts between Jesus falling under the weight of his cross and a toddler Jesus falling and skinning his knees is one of the most powerful contrasting images committed to film in many years. Gibson has become a master of compositional extremes, somehow weighted down by the gravity of the events and the professionalism of the craftsmanship.

I don't really have a desire to get into the more controversial points. I don't in the slightest bit find the film to be anti-Semitic. Indeed, most of the Jewish people in the film are booing the Roman guards and begging them to stop during the long walk to Golgotha.

I would like to sometime see a film about Jesus with actors who really resemble what people from the geographical area would have really looked like (i.e. Jesus is NOT white), but Gibson's film feels more organically accurate than any other portrayal of Christ.

I can understand some folks' fury at the film...many would have preferred that Gibson focus more on Jesus' teachings than the nastiness of the crucifixion. I feel that Gibson obviously felt a need to show this part of the man's story. I admire an artist who puts himself so fully into his work, who takes a chance on presenting a singular vision.

A philosopher, a poet, a prophet, a revolutionary...Jesus represents something different to everyone who will see this film. I will always think of Jesus as just a man...although perhaps one of history's most important. Still, Gibson's impassioned portrait of the man he loves so dearly moved me in ways I didn't think were possible. I applaud his effort. This is a masterful film.

Jim Caviezel gives a remarkably attuned performance here. Dynamic in flashbacks, compassionate, literate, prophetic...it's a stunning performance, one that is matched by Maia Morgenstern as Jesus' mother, Mary. Morgenstern is loving and anguished...her subtle performance deserves to be recognized by awards-givers next year.

I think the commercial success of the film proves its impact will last, but I hope it is ultimately remembered as the magnificent work of art that it is...a singular accomplishment by an artist of singular vision.

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