Comparison:Jesus Gospel Manifesto

I want to use a clip to illustrate Luke's portrayal of Jesus' rejection in Nazareth (Luke 4:16-30). Luke is the only gospel to depict Jesus reading a particularly apt text from Isaiah which narrows my focus somewhat. Whilst a few more versions of this episode are out there I'm going to focus on those below as the quality of the other films overall is too poor to make them a serious possibility. So these are those listed in Staley and Walsh from which I will also cite start times and chapters in brackets (Region 1). The unbracketed timings are my own (Region 2). I've excluded Pasolini and Saville's films here as they are based on the accounts in Matthew and John respectively. I've also included the scene from Mary, Mother of Jesus which is not included in Staley and Walsh's book.

Greatest Story Ever Told (1965)
From 1:33:30 (1:36:51)
Instead if shooting this scene from inside a synagogue, Stevens films out in the open air, next to a pool where a number of people have gathered. There are quotes from all 4 gospels, but particularly John (e.g. 10:24), and the critical quotations from Luke. When the confrontation is over Jesus walks away with his back to the camera and we see someone throw a stone at him that hits him squarely on the back

Jesus of Nazareth (1977)
From episode 2 10:33 (1:43:00)
This takes the scene almost directly from Luke alone. There are a few dramatic flourishes, but the location of this clip (right at the start of Jesus' adult ministry) and its inclusion of the fulfilled OT prophecy both suggest Luke. After Jesus has made his statement, Mary repeats the key phrase "today in our hearing the scriptures are fulfilled". We also see Jesus being ejected from the temple and there's a similar shot of Jesus' back as was found in Greatest Story. This time however no stone is actually thrown. This is certainly the version that came to mind when I started thinking of portrayals of it and so I may well use this one.

Jesus (1979)
From 13:00(0:15:11)
This film is an adaptation of Luke so it's not surprising to find that it's the one that most closely corresponds to that gospel. We see Jesus sitting on the floor and covering his head and kissing the scriptures before reading them. The wording here is pretty much as per the gospel. It even includes Jesus being brought to the cliff edge though whilst the narrator describes Jesus walking through the middle of the crowd we only see him walk away from them.

Mary, Mother of Jesus (1999)
From 0:56:55
This film is usually pretty dreadful, but Bale is capable of turning any scene into something memorable so I thought this might be worth a try. And so it turned out. There's a bit of an underemphasis on the words Jesus speaks, but a few nice touches. For example, as Jesus is reading from the scroll another man moves a pointer along the text to help him keep his place. When Jesus begins to close the scroll in the middle of a section the man gives Jesus a shocked look. The confrontation that ensues goes on quite a bit, but it's still a fairly good scene. There's also a visual nod to Jesus of Nazareth as we see Jesus in the synagogue from behind the screen that separated off the women.

Overall it's interesting that other than Greatest Story all these portrayals are keen to show Jewish customs relating to synagogues. All 3 of these other films also join up the dots for the audience by explaining that Jesus was claiming to be the messiah.

Pop Clasics on Jesus of Nazareth

In between writing about Doctor Who, Rome and Xena: Princess Warrior, Juliette Harrisson has managed to find time to write about Jesus of Nazareth (see all my posts on this film). As always with Juliette's work, it's mainly focussed on the depiction of the Romans (or Greeks), and I was particularly intrigued by her final paragraph:

Zeffirelli is not out to depict the dirtiness, unpleasantness or even the violence of the ancient world. Rather, he wants to provide an 'authentic' background for the story he's telling which serves that story - it is violent or unpleasant where necessary, but for the most part, he wishes simply to show people getting on with their lives within their historical context. This is, of course, partly determined by his subject matter, since adding sex and violence to the story of the Gospels would make a rather different series and not give it the reverent air it has. But it is also, fundamentally, a different, perhaps an older, approach to the depiction of the ancient world, in which the director is more interested in showing the similarities between us and the ancients than the (sexy, violent) imagined differences.

Capitalism, Jesus of Nazareth and Michael Moore's Love Story

Last week was a bit of a crazy week, such that I didn't manage to blog a single thing. Apologies to all those who stopped by only to be disappointed. Almost as annoying as not having the time to blog was finding that there was so much to blog. So hopefully the next few days will yield various small tid bits of information, which, with a bit of luck, will pave the way for me to do more of the type of blogging I really like - doing reviews, making observations and so on.

For now, though, I'm going to have to content myself with talking about Michael Moore's latest film Capitalism: A Love Story/.

I only caught onto the film a few weeks ago when I saw that Moore had talked about Jesus being anti-capitalist. I wrote a brief piece on this for rejesus.co.uk a week or two back. I must admit that I'm one of those evil people who is suspicious of capitalism, largely, I guess because, as Moore says, it seems so out of touch with Jesus and the new community he founded.

Nevertheless, my interest peaked last week on discovering a write up in The New Yorker which includes the following excerpt:

He (Moore) uses old films, like Zeffirelli’s Jesus of Nazareth, for sarcastic fun: Jesus, dubbed, recommends not care for the poor but deregulating the banking industry as the way to salvation.

Given that Moore has been quite open that this film is inspired by his religious views and his appeciation of Jesus's teaching in particular, I'm not sure on what basis this is pigeonholed as "sarcastic fun", but then David Denby has seen the film and I have not (yet). It does sound a little cheesy though. I can't, at all, see how this could be done well. Even so it's interesting that it's this Jesus film that is used instead of one of the others, particularly given that General Motors were originally going to sponsor the film until religious groups pressurised them into changing their minds. Both this film and Moore's earlier Roger and Me cover GM in some detail.

New York Times Interviews Zeffirelli

I'm a bit pushed for time this week, but I just came across an interview with Franco Zeffirelli in the New York Times.

There's not a great deal of discussion about Jesus of Nazareth per se but a good deal about Zeffirelli's Catholicism which he describes as "open... theatrical... flashy." He is, apparently, still a 'devout Catholic', albeit with a few quibbles. '"There are some doubts about the Virgin Mary," he said ruminatively. "But not him."'

Thanks to Mark Pedro for the above photo and Peter Chattaway for the tip off about the interview.

Moses the Lawgiver - Review

In many ways Moses the Lawgiver is Jesus of Nazareth's forgotten older brother. Both are made for TV productions by Lew Grade's ITC Entertainment. Both have Italian directors, were written by Anthony Burgess and feature impressive star casts. The photography in the two productions is strikingly similar, and both films even had a glossy illustrated novelization to sit on the nation's coffee tables.

Given the many similarities, it's surprising to see how differently the two films have fared since their initial release. For many people Jesus of Nazareth is the definitive portrayal of the life of Christ – even those who have never seen it would identify Robert Powell's bearded face and piercing blue eyes as being Jesus. It was a role that made him a household name. It was the role he would always, henceforth, be identified with.

In contrast Moses the Lawgiver had chosen an existing star – Burt Lancaster – to play Moses, with his son Willliam playing Moses as a younger man. Ironically, it was Lancaster who Cecil B. DeMille had in mind when he began his hunt for the man to play Moses in his version of the story - The Ten Commandments - almost twenty years earlier. Initially Lancaster's presence made the series a success, so much so that the green light was given for Franco Zefferelli to make his famous Jesus biopic.

Thirty years on, however, Moses the Lawgiver is almost forgotten. There is a mound of information, analysis and reviews of Jesus of Nazareth, but Moses is mentioned only very rarely, and, even then, only in passing. Director Gianfranco De Bosio made just 4 more films over the next 20 years and today he doesn't even seem to merit a Wikipedia page. The last decade has witnessed a number of new movies about The Exodus, and on each occasion the film makers talk about showing a more human Moses, perhaps even unaware of De Bosio's film.

So it's pleasing, then, that Moses the Lawgiver has finally been released, uncut, on DVD, because in many ways it's the more interesting film. For all it's strength's Jesus of Nazareth is a fairly unimaginative telling of the life of its hero. Complexity, challenge, doubt and struggle are largely sidelined to make way for Powell's slow delivery, Zefferelli's admittedly beautiful iconography, or just more shots of those azure blue eyes.

DeBosio's film, however, is altogether deeper. Whereas God is made man in Jesus, here he is largely off screen. His words are mediated only through Moses. Even the viewer only hears him speak in Lancaster's voice. His (miraculous) actions are shown through subjective point of view shots, or meet, shortly afterwards, with a rational explanation.

In other places De Bosio toys with the idea of myth. We witness the staff turning into a snake when God first address Moses, but it's a sign that Moses never gets to perform. Once inside the palace Pharaoh seems to anticipate what Moses is about to do and he disparages it before his cousin gets the chance. Elsewhere Pharaoh lists and refute exaggerated claims about Moses which are, apparently beginning to circulate. They far exceed anything Exodus has to say about Moses.

Later in the film the visuals suggest contrasting versions of what really happened. The shots of the people crossing the Red Sea switch between huge waves and remarkably shallow water. Whilst some of this can be accounted for by the low budget, that explanation alone is certainly not adequate. Furthermore, the closing scenes seem to portray Moses dying twice. Initially Moses seems to have died in his tent in the same ordinary way that his siblings died before him. But then, Moses ascends the mountain overlooking the Promised Land and then lays down to die in the manner described at the end of Deuteronomy.

However, this is not purely modernist cynicism attempting to unstitch this great story. "Scientific" explanations for certain events may be voiced, but they are not entirely convincing. DeBosio refuses to give viewers (of any persuasion) the option of simply sitting back and having their viewpoint reinforced. He constantly challenges his audience to wrestle with the data and make sense of it.

Take, for example, the scenes where God's punishment is meted out. As a group of men picking firewood on the Sabbath are condemned to death, we sense Lancaster's struggles. Is he torn between his own feelings and God's will? Struggling with his own conscience? If Moses is making all this up why does he seemingly act against his own sense of right and wrong. If he's following God's orders, why do they seem harsh to him? If God is simply such a harsh God, then why is such compassion evident elsewhere in the film?

To present such delicate balance and such moral complexity in a film requires a great deal of skill, and it's a credit to DeBosio, Burgess, Lancaster, and no doubt many others that they manage hold it all together so remarkably.

Not all aspects of the film are handled quite as impressively. The series is a fairly low budget affair, and at times it really shows. In some cases this is the film's deliberate choice of aesthetic. As Lancaster explains in the DVD's bonus interview feature, the costumes are meant to look coarse, simple and inferior. The Israelites were slaves freed from poverty so they "deliberately tried to make it primitive", and it works well. At other times, though, things just look cheap, particularly the Egyptian sets and costumes. Admittedly DeMille style opulence is probably equally unlikely, but, as a result, the scenes in Pharaoh's court are probably the film's weakest.

The other weak point of the film is the acting in some of the crowd scenes. A great deal of this film is taken showing the opposition Moses faced from his people. Whilst some of this is crystallised into the complaints of a single figure Dathan (Joseph Shiloach), much of the moaning comes from the non-principals. As is often the case with such Bible Film heckling it fails to convince, no doubt because the extras don't speak English so the voices are dubbed later.

Aside from those scenes, there are a number of good performances. In addition to Lancaster's own, as commented on above, Anthony Quayle (Lawrence of Arabia, Anne of the Thousand Days) as Aaron, and Ingrid Thullin (Wild Strawberries) as Miriam carry the series well. And you sense Lancaster would have been proud of the way his son William Lancaster played Moses as a young man.

Overall, then, Moses the Lawgiver is well worth watching. The few weaker aspects can easily be forgiven for the way in which it probes the Biblical accounts of Moses and the Exodus and compares them with modern understandings of the story. By playfully juxtaposing the supernatural with the rational, it refuses to allow viewers to take a comfortable position.

Jesus of Nazareth - 6hr Region 2 DVD Out Today

I've mentioned the DVD release of Jesus of Nazareth a couple of times already, but thought I'd give a bit more detail on the release as today is the release day.

As I've already noted this "special edition" comes in Steelbook^TM packaging, which is a nice bonus - it looks a lot nicer than plastic, and lasts a lot longer than cardboard. There aren't many other extras. This, I believe, is not uncommon for TV series' from 30 years ago - there just isn't that much extra material available to use.

The main menu is shown below, the two pictures to the right and left change, and the programme's title music plays as these pictures cycle. The episode/scene selection screen is also fairly nicely laid out, and lets you choose between episodes as well as between scenes.
Finally, I got a question from my first post on this release regarding image quality, which, according to that poster, isn't too great on the existing region 1 release. I don't have anything to compare it by, but I'm pretty pleased with the quality. I've posted a couple of images from the film. If you click on them you'll get the biggest size image I was able to create, and it's in Bitmap format, which I believe is higher quality than the JPGs I usually post. This second one is a more blurred than it looks on screen, I'll try and see if I can get a better image when I have a bit more time.Finally, just a reminder that I reviewed this film for my first ever Jesus Films Podcast.

Podcast 1: Jesus of Nazareth

After thinking about this for a long time I have finally published my first podcast. Because of the way I have built up this blog, I've yet to give some of the largest films much attention. This is one way of remedying that, whilst also contributing something different. The internet has lots of opinions about the most popular Jesus films, but few have anything in audio.

I've learnt a lot this time around so hopefully the quality of these will continue to improve. For now, however, here is my first podcast - Jesus of Nazareth (1977) The 6 hour version of this film will be released on region 2 DVD on the 16th October.

October: A Busy Month for Bible Films

I can’t think of a time in which more has been happening on the bible film front as this coming month.

One Night With the King - At Cinemas from 13th October
First up there is the cinema release of Michael O. Sajbel’s One Night with the King - an adaptation of Tommy Tenny’s novel about Esther. This is going to be one of the first film’s released by the brand new “Fox Faith” label. Its release has been delayed by almost 2 years. The cast list, however, is impressive. In addition to Tiffany Dupont as the lead, Peter O'Toole, Omar Shrif and John Rhys Davies are also involved.

Color of the Cross - In Cinemas from 27th October
Also of great interest is the release of Jean Claude La Marre’s Color of the Cross, which is the first historical life of Jesus film to use a black actor to play Jesus. It’s unclear whether or not this is another “Fox Faith” film or not – certainly they will be distributing the DVD when that is released.

Jesus of Nazareth - Full version DVD Region 2 Release 16th October
This month also sees the long overdue region 2 DVD release of Jesus of Nazareth (1977). Whilst the 4 and a half hour version has been available for a while it’s good to see the proper version get released at last. As a bonus, it’s going to come with a nice metallic case. I’ll be reviewing the film later in the month in my first ever Jesus Films Podcast, and post a brief review of the DVD shortly.

Mary - DVD Release on 3rd October
Having only received a very limited cinematic release the region 2 DVD for Abel Ferrara’s Mary goes on sale on the 3rd. Ferrara’s film sounds like it is very, much along similar lines to Jesus of Montreal in terms of approach to its religious subject matter, but of course its theme and form maybe completely different. The film is about an actress playing Mary Magdalene in a film whose involvement with the film inspires her to go on a spiritual journey.

The Nativity Story at Heartland Film Festival
As I mentioned last week, Catherine Hardwicke’s The Nativity Story will be getting it’s first public viewing at the Heartland Film Festival. A week or so later the album "The Nativity Story: Sacred Songs" will be available to buy.

So plenty to look forward too. I’m slightly envious of those of you in North America as One Night With the King and Color of the Cross won’t get released here, at least for a while. Whilst I hope that I get sent review copies for these films, I won’t know until nearer the time. That said Mary doesn’t look like it's going to get a region 1 DVD release for sometime so I guess I’ll have to take the rough with the smooth.

Top 100 Spiritually Significant Films (2006)

Members of the Arts and Faith Discussion Forum have just announced our third incarnation of their list of the Top 100 Spiritually Significant Films.

Many thanks to Alan Thomas of Movies Matter for collating nominations, devising and executing the voting procedure, determining final positions, and creating the excellent webpage version of the list, replete with a myriad of images and links.

Sadly the number of films I've seen on the list drops each year, such that I've only seen 47 of the films thus far. There are a number I have lined up to see, which should at least see me into the fifties, but until I sign up for online DVD rental I'm going to struggle to make much headway.

There are a number of Bible Films on the list. Surprisingly, The Miracle Maker turned in at number three closely followed by Pasolini's Il Vangelo Secondo Matteo. One of the interesting things about re-doing the list annually is that it churns it over bringing fresh and surprising films to the surface, which then gain a wider audience amongst the group, often resulting in a particular film taking a number of years to stabilise. For example last year's number 1, the excellent Dardenne brothers' film Rosetta has slipped to number 33, which is perhaps a little more realistic. I suspect The Miracle Maker will fare similarly next year. As much as I love it, it didn't really deserve quite such a lofty position, and it is unlikely to achieve it again.

Other bible films on the list are Jesus of Nazareth (#18), Jesus of Montreal (#19), The Passion of the Christ (#20), Last Temptation of Christ (#63), The Gospel of John (#64) and Peter and Paul (#80). It's noticeable that there are no Old Testament Films (not even The Ten Commandments!), and that Peter and Paul is the only Roman Christian / Later New Testament film, and the lowest placed of all the bible films. That makes a total of 8 Bible films, and strangely there are 3 places where there are two bible films next to each other. The number one film on the list is Carl Dreyer's Ordet (pictured at the top), which is listed in Kinnard and Davis's "Divine Images", but is not really a Jesus film per se.

It's good to see Peter Weir re-appear on the list as well. He had more films on the 2004 list than practically any other director, but then none of his films made the cut last year. The film I would love to see on the list that hasn't made it is Field of Dreams. I reviewed it last year in a bid to get it on their, but alas, my colleagues don't seem to share my high opinion of it!

Full Length cut of Jesus of Nazareth comes to Region 2

UPDATEMy podcast about this film can be heard here

When I launched my scene guide last month I bemoaned the lack of a region 2 release of the full version of Jesus of Nazareth.

Well thankfully it looks like the wait is nearly over. ITV DVD, a new label set up to distribute programmes screened by ITV, is releasing a stack of new programmes, and a full uncut version of Franco Zeffirelli's film will be released in October. At this stage, it's not yet clear whether there will be any special features or not, but it's great that the full version will finally be available.

Prior to Mel Gibson's The Passion of the Christ, Jesus of Nazareth was generally considered the definitive version within Christian circles. Whilst, I have a number of quibbles with the film, it did make my recent Top Ten Jesus Films list, and has a great deal going for it.

I've been thinking for a while that I might do some podcasting related to this site, and when I get around to it (hopefully within the next month or so), this will probably be the first film I tackle.

(Thanks to Chip for the tip off)

Entertainment Weekly's Top 12 Film Jesuses (Jesi?)

Firstly apologies for the lack of a post yesterday. There were problems with Blogger which seemed to have sorted themselves out. I'm amazed at how angry some people get on the Blogger Help Forum. Whilst not being able to post is a bit annoying, Blogger does give us web space and blogging software for free. Perhaps I'm just being naïve.

Anyway, anyone who has read FilmChat recently will know this old news already, but as I wasn't able to post anything it before Easter, I thought I would do so now. In addition to Peter Chattaway's top ten Jesus films at Christianity Today, and my top ten Jesus films, there is now a list of the top 12 film Jesuses (or Jesi as Clayton Slaughter suggests) up at Entertainment Weekly. Their list is as follows (in chronological order:

Jim Caviezel (The Passion of the Christ)
Christian Bale (Mary, the Mother of Jesus)
Will Ferrell (Superstar)
Jeremy Sisto (Jesus)
Martin Donovan (Book of Life)
Willem Dafoe (Last Temptation of Christ)
Chris Sarandon (The Day Christ Died)
Robert Powell (Jesus of Nazareth)
Victor Garber (Godspell)
Ted Neely (Jesus Christ Superstar)
Max von Sydow (The Greatest Story Ever Told)
Jeffrey Hunter (King of Kings)

I always wonder with things like this how they devised them. For a start it is strange that they have done a top 12 rather than top 10. I can only assume that this is because they felt they had to include the major film Jesi down to Hunter and von Sydow, but also wanted to include lesser known portrayals such as Bale, Ferrell, Donovan and Sarandon.

There are two films on the list that I have yet to see. Like Peter, I'd not heard of Ferrell's turn in Superstar (1980), and will have to see if I can dig it out. On the other hand I've known about The Day Christ Died (1980) for a long time, but sadly it's not available to buy.

The limitations of the list are not to hard to spot. Firstly, all these films are American. Whilst I can understand that Entertainment Weekly is a popular magazine, and trying to write for as wider readership as possible, would it really have hurt them to have included Enrique Irazoqui from Pasolini's Gospel According to St. Matthew (1964)? Similarly the list only covers the last 45 years. Whilst going back this far is, in itself, a positive step, it would have been nice to choose a film from the silent era. Personally, I'd include Robert Henderson-Bland's performance in From the Manger to the Cross (1912). Thirdly they seem to have deliberately excluded all church sponsored projects like the Visual Bible's Gospel of John (2003). Whilst some of these church films are awful, Henry Ian Cusick's performance at least deserves a nod. The final flaw is that by so limiting the available selection, the list really becomes a no-brainer. It's hard to think of a portrayal that fits the presumed criteria that isn't included.

Anyway, it's easy to criticise, without offering anything in return, so here's my list.

Jim Caviezel (The Passion of the Christ)
Henry Ian Cusick (Gospel of John)
Christian Bale (Mary, the Mother of Jesus)
Jeremy Sisto (Jesus)
Martin Donovan (Book of Life)
Bruce Marchiano (Visual Bible: Matthew)
Willem Dafoe (Last Temptation of Christ)
Pier Maria Rossi (Il Messia)
Colin Blakely (Son of Man)
Max von Sydow (The Greatest Story Ever Told)
Enrique Irazoqui (Il Vangelo Secondo Matteo)
Robert Henderson Bland (From the Manger to the Cross)

I should add that I was mainly voting on the basis of the actor's performance given what they were asked to do. Admittedly there's some guess work as to where the actor's performance starts and teh direction ends, but even so that seemed to be the best way to do it. So, take Bruce Marchiano, in places some of the things he has clearly been asked to do are crass (e.g. emptying a jar of water on a disciple's head during the Sermon on the Mount), but a lot of his work is very good in my opinion.

Finally, a while back there was a discussion on Arts and Faith called "Who's Your Favourite Film Jesus?" which was also discussed at NT Gateway and Codex. For what it's worth I voted for Jim Caviezel, although I regret that now. Predictably, he and Robert Powell were way ahead of the rest. There's also another top ten Bible Films list at my favourite everything.

Top Ten Jesus Films

Peter T Chattaway has just had his list of Top Ten Jesus Films published by Christianity Today. We chatted a bit about the subject a while back and I've been meaning to post my list for a while. Peter's films are:

The Life and Passion of Jesus Christ (1902-05)
The King of Kings (1927)
The Gospel According to St. Matthew (1964)
The Greatest Story Ever Told (1965)
Godspell (1973)
The Messiah (1976)
Jesus of Nazareth (1977)
Jesus (1999)
The Miracle Maker (2000)
The Passion of the Christ (2004)

Since Peter has now had his list published, and, as this is the last major post before Good Friday I thought it was probably about time I posted mine up as well. We actually agree on 6, although I'd be happy to swap 2 of those 6 for 2 on my list of honourable mentions further below. However, here are my Tope Ten Jesus films in chronological order:

From the Manger to the Cross (1912)
More of a film than The Life and Passion of Jesus Christ, more natural and genuine than DeMille's The King of Kings, This film, for me, stands out as the best Jesus film of the silent era. Controversial in it's day, for its very existence, (not to mention its ommission of the resurrection), Sidney Olcott's film has a quiet dignity about it, which is best captured by turning off the overbearing sountrack which was added later. The film was re-issued with a resurrection scene in 1916 as Jesus of Nazareth, and under that title again in 1932 with sound.

Golgotha (1935)
Golgotha was the first Jesus talkie, and set a high standard for those that were to follow> originally released as Ecce Homo. Julien Duvivier's use of the camera was way ahead of his time and he manages to capture the miraculous events in Jesus's last week as if they were the most natural thing in the world.
My review

King of Kings (1961)
The first Hollywood film about Jesus since the end of the silent era 34 years earlier. King of Kings remains enjoyable even though behind the scenes power stuggles destroyed the films promise. The Sermon on the Mount scene is still wonderful though, even if elsewhere Jesus is squeezed out of the film by the zealots.
My review

Il Vangelo Secondo Matteo (1964 - The Gospel According to St. Matthew)
Widely considered the masterpiece of the genre, at least among film critics, Pasolini's neo-realist style gave us a Jesus of the people, who delivers his pithy sayings with revolutionary urgency. The camera work draws the viewer into the story more, whilst the use of ordinary people cuts through the gloss of so many Jesus films both before and afterwards.

Il Messia (1975 - The Messiah)
The Godfather of neo-realism was Roberto Rossellini who ended his career with this film. Like Pasolini's film, Rossellini depicts a peasant Jesus, who continues his carpentry even as he teaches, and whose followers pass on his message at the same time he does. Of all the versions of Jesus in film this one perhaps focusses the most on his teaching. The film is also unusual for it's opening scenes from the time of Samuel.

Jesus of Nazareth (1977)
One of my least favourite films in this list, and yet where would the genre be without it? In many people's eyes the definitive film Jesus, and a favourite amongst the faithful, Zefferelli does so much very well. Sadly, his leading character is dreary, and the film drags on without a charismatic compelling lead. That said the other performaces are wonderful and the period detail is impressive.


Last Temptation of Christ (1988)
A mixture of the good, the bad, and the dull. In parts Scorsese's film soars breathing new life into the character of Jesus and challenging the viewer about their cosy pre-conceptions. In other places though the film, is just bizarre and has offended many, whilst still other places seem to drag. For those looking for fresh insights and who like to judge films on their merits there is plenty to be mined here. For those who find whole films are spoiled by particular sections stay away, particularly if you are easily offended.
My review

Jesus (1999)
Jesus explores similar territory to Last Temptation, but in a safer more palatable form. Sisto's performance has many strengths, but it slightly spoilt by a few too many scenes of of him goofing around. That said the early scenes are particularly strong. Much of it is speculation, but certainly such that is within reason. It's also one of the few films to clarify that that it was the Romans, not the Jewish leaders that were in charge in Jerusalem in Jesus's time.

The Miracle Maker (1999)
The claymation version of Jesus's life is one of the genre's highs. Whilst clearly less arty than Pasolini's film, it is theologically, and historically strong, and surprisingly moving for a stop motion film. Ralph Fiennes does an excellent job as the voice of Jesus, and Murray Watts's scripts is excellent but the most credit must go to the team of animators who produced a wonderfully realistic and creative film.
My review

Passion of the Christ (2004)
Whilst there are several troubling aspects of this film Mel Gibson did plenty of excellent work with this as well. The film looked incredible, and whilst it starved us of insights into Jesus's earlier life, the few scraps we were allowed certainly aroused our appetites for more. And as filmic meditations on the stations of the cross go, I doubt it will be surpassed.


Honourable mentions
There are a few films which I had to exclude, for various reasons, but which really deserve a mention.

Son of Man (1969)
Son of Man isn't really a film, it's the filmed version of a Dennis Potter play. Nevertheless it remains one of the strongest visual portrayals of Jesus to date. Colin Blakely portrays a Jesus with fire in his belly, who speaks in the language of normal people, but in a manner that makes his collision with the authorities inevitable. The Sermon on the Mount scene again is amazing, and deserves repeated viewings.

Life of Brian (1979)
This is excluded form the list becuase it isn't actually a film about Jesus (although he makes a brief cameo at the start). Instead it's about the folibles of religion, and of humanity in general. Life of Brian does what all good films do - be excellent at something. In this film's case its comedy is hilarious hwilst remaining thoughtful. As a result it has gained a dedicated following, and appears time after time in those "best of" programmes.

Jesus of Montreal (1989)
Jesus of Montreal is another satire, only this time the target is modern day Quebec. The film follows five actors as they put on a controversial passion play which and finds the life of the groups leader mirroring that of Jesus whom he plays in the film. Perhaps the strangest scenes at a first viewing, is actually one of the best - where Jesus wanders through the subway proclaiming God's judgement in the style of Mark 13.

Book of Life (1999)
Hal Hartley's film stars Martin Donovan as Jesus returning to earth on the eve of the new Millennium, and finding that his love for humanity conflicts with his mission. Another sharply observed satire which explores form as well as content.