Oscar Isaac’s star has been on the rise in recent years.
He sang gospel songs, but he also wrote darker tunes like the one in which he assumed the persona of someone who shot a man “just to watch him die.” He was a country star who found his greatest success after he teamed up with a producer of rap albums. He produced a haunting music video shortly before his death at 70 that offered a stark, unflinching look at human mortality, yet he had — and continues to have — many fans many years his junior.
Johnny Cash was a man of contradictions, and Joaquin Phoenix — who plays the Man in Black in Walk the Line, a film developed with Johnny Cash and his wife June Carter Cash prior to their deaths in 2003, and overseen since then by their son John — had a chance to see those contradictions up close, when he accepted a dinner invitation from the Cash family.
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.