Credits where credit is due in Bible films

I recently watched Cecil B. DeMille’s Samson and Delilah (1949) for the first time in years, and I hope to write something about it soon. But one detail caught my eye, and got me curious to see if it was part of a trend that might have popped up in other Bible movies, too.

Specifically, I was struck by the writing credits that appear during the opening titles. The film gives credit to four different screenwriters, which is fairly typical — no doubt there were other writers who worked on the film without credit, too — but the film also goes on to specify not just that it is based on the Bible, or on a particular book of the Bible, but that it is based on particular chapters within that book.

[Read more...]

History and tradition in movie depictions of the Cross.

Western Easter came and went last week, but the Eastern churches are currently only half-way through the Lenten season, so yesterday was, for us, the Sunday of the Veneration of the Precious Cross.

Thinking about this, I inevitably started thinking about Jesus movies, and I began to think about the fact that the recent mini-series The Bible has joined Mel Gibson’s The Passion of the Christ in taking a step back from recent “historically accurate” depictions of the Crucifixion towards a more traditional sort of iconography.

[Read more...]

Come and See: How Movies Encourage Us to Look at (and with) Jesus

In orthodox Christian belief, Jesus is both God and man, fully divine and fully human. And it is because God has revealed himself in the form of a particular person who lived in a particular time and a particular place that Christians down through the ages have generally felt free to portray Jesus in icons, passion plays, and other forms of religious art. But except for the most basic and theologically essential points, such works of art generally pass over the particularities of Jesus’s life. His humanity, expressed in the mere fact that he can be depicted at all, is often balanced with his divinity by a degree of artistic abstraction: Whether depicting Christ in static paintings or following the stations of the cross according to a set pattern, artists have tended to downplay realistic or naturalistic details to focus on the more eternal truths.

[Read more...]

Jesus at the Movies

In Jesus of Montreal, Denys Arcand’s witty satire about a group of actors who put on a revisionist Passion play, the church sponsoring the play sends in some security guards to call off the production in mid-performance. The actors have tinkered with the Gospels too much; their reconstruction of the historical Jesus challenges church tradition at nearly every point, so out it must go. But the audience objects; one woman says she wants to see the end, and the head of security replies, impatiently, “Look, he dies on the cross and is resurrected. No big deal. Talk about slow!

The scene neatly sums up one of the main challenges faced by films about the life of Jesus: namely, overfamiliarity. Jesus has been represented in paintings, sculptures, and stained-glass windows for centuries; since the invention of moving pictures in the 1890s, he has also been a perennial subject in films and television. All these portrayals tend to fuse together in the popular imagination; audiences think they’ve seen it all before, and they can remain blind to the unique perspective each film sheds on the life of Jesus and his relationship to modern moviegoers.

[Read more...]

The gospel according to film

Jesus at the Movies: A Guide to the First Hundred Years
By W. Barnes Tatum
Polebridge Press, 245 pp., $18

John Dominic Crossan, co-founder of the Jesus Seminar and one of the wittiest historians working today, began his landmark work The Historical Jesus: The Life of a Mediterranean Jewish Peasant with the quip that historical Jesus scholarship had become something of a bad joke. The same could be said of that peculiar genre of films based on the life of Jesus, but for a very different reason.

Crossan was responding to the many competing and contradictory accounts of the life of Jesus that have been produced by modern historians. But moviegoers tend to be cynical for a very different reason. In their efforts to please as wide an audience as possible, filmmakers who tackle the gospels have tended to make Jesus a rather bland, anemic figure who has remained surprisingly constant and unchallenging over the years. Even revisionist films like The Last Temptation of Christ emphasize his weaknesses more than his strengths.

[Read more...]


CLOSE | X

HIDE | X