There aren’t that many word-for-word film adaptations of the Bible out there, but the genre — which got its start with The Genesis Project’s adaptations of Luke and the first half of Genesis in the 1970s — has grown to the point where we now have two very different films based on the same biblical text, namely the gospel of John.
How two word-for-word adaptations of The Gospel of John use bits from the other gospels (and Acts) as well
Alas, there was no Transfiguration in this episode. But there was quite a bit of other stuff that I found interesting, for better and for worse, so here again, as before, are my first impressions.
The pacing, redux. It says something about this show that, when it finally devotes an entire two-hour episode to a single protagonist, it still feels kind of rushed, like it’s over far too quickly and we haven’t had a chance to really get to know anyone.
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 have generally passed 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.