Of the making of movies about Jesus, there is no end. In the first three months of this year alone: Son of Man, which casts a black man as Christ and sets his life in modern South Africa, got positive reviews at Sundance; the makers of Color of the Cross, which also casts a black man as Christ, established a website with trailers for their work-in-progress; and New Line Cinema announced that Oscar nominees Keisha Castle-Hughes (Whale Rider) and Shohreh Aghdashloo (House of Sand and Fog) will star as the Virgin Mary and her cousin Elizabeth in a new movie about the Nativity, to be released in time for Christmas.
By now, it’s become standard practice for filmmakers tackling the gospels to say that they will show Jesus in a more ‘human’ light. What this usually means is that the Jesus in their films will smile more often than the Jesuses in other films. He will laugh, he will cry, he will help the fishermen with their nets, he may even get up and dance at parties.
But this definition of humanity, with its implicit assumption that God, in his divinity, is somehow above all that stuff, does a disservice to both sides of the equation. The God of the Old Testament definitely has feelings, so emotion itself is no big sign of humanity. If Jesus is fully human, as the creeds insist, then there has to be more to it than that.