Our first look at the cast for The Bible follow-up series A.D.

ad-jesusAt last, we know who some (but not all) of the actors will be in A.D., the NBC series that Mark Burnett and Roma Downey are producing as a follow-up to their hit miniseries The Bible.

First, People reveals that Jesus will be played by Argentinian actor Juan Pablo di Pace, and, just as Diogo Morgado’s Jesus in The Bible quickly earned the nickname “Hot Jesus”, so too People notes that di Pace is “easy-on-the-eyes”.

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Bible movie of the week: The Big Fisherman (1959)

Four years ago, I wrote a blog post on The Big Fisherman (1959), one of the more obscure Bible movies ever released by a major Hollywood studio.

As far as I know, the film, which was originally distributed by Walt Disney’s Buena Vista division, has never been officially released to home video, at least not in North America. But I had read a bit about it in books on the history of Jesus movies — the title refers to the apostle Peter — and I was intrigued by the information I found at the Internet Movie Database.

For one thing, the film is based on a novel by Lloyd C. Douglas, who also wrote The Robe, which 20th Century Fox turned into a much more famous film in 1953. For another, it seemed that this film might rely on the secular account of Herod Antipas and John the Baptist given to us by Josephus, which no other film I could think of had ever done.

And what did the apostle Peter have to do with any of this? I had no idea, but I was curious to find out.

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The Bible: final episode, first impressions

And so it ends. Here are my first impressions of the final episode of The Bible, which aired last night.

Continuity between Bible stories, redux. Once again, I am impressed by the fact that this adaptation-of-the-whole-Bible approach — whatever its limitations — has allowed the filmmakers to emphasize the continuity between Bible stories in a way that you rarely see in other films.

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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.

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Review: The Apocalypse (dir. Raffaele Mertes, 2002)

There have been many films about the end times, but few have had all that much to do with the actual Book of Revelation. Most apocalyptic movies have been more interested in giving the ancient prophecies a modern spin than in bringing the Scriptures themselves to life — and they have usually accomplished this by spinning a web of hokey political conspiracies and horror-movie shock effects out of thin air. Thus, these films have tended to reflect the social and cultural preoccupations of their makers much more than anything particularly biblical.

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