Friday, July 11, 2008

Esther, Ezra and Nehemiah

As I've mentioned here in the past I currently lead a course called Through the Bible in Five and a Half Years where we look at a different book of the Bible every month. In July we'll be looking at Esther and given how this story is a popular one with filmmakers (see all posts on Esther films), and how our baby is due any minute, I thought I might use some extended clips from one or two of them.

One of the Esther films I have always liked is the Bible Collection's version. It was one of the first in the series I watched, and it was perhaps the first time that I realised that the early part of the story wasn't some fairy tale love story, but that of state-sanctioned rape. It's possible that Esther enjoyed the glamour of it all, but the Bible certainly doesn't mention that. (Having said that even this film hints at a love story. Note the shot above - the first time the camera gazes upon Esther - and how the intimate close up and soft focus suggest romance). Naturally, then, this is one of the clips I'm thinking about showing, so last night I began to re-watch it.

The first thing I noticed was that both Ezra (below) and a young Nehemiah appear in this film. This was a little frustrating as I had hunted for relevant film clips during the last two months, if only to find a suitable image for the Through the Bible... blog. But having studied those books in some depth now it was interesting to see how the film treated the characters.Of the two, it's Ezra who gets the most screen time. Ezra's a friend (or disciple?) of Mordecai and we meet him even before we meet Esther. As a thief is dragged away by the Persian guards, Mordecai voices his dismay at the likely severity of the thief's punishment; he will have his hand cut off. When Ezra replies that such is the Persian way Mordecai begins to reply. "It's not the harshness Ezra, it's the absence of clemency. We Jews should remember when we write our own laws..." but he is then cut off by the arrival of Haman.

There's a fair bit packed into Mordecai's statement. Firstly, it clarifies that this Ezra is the same man who will go on to lead the Jewish people, and establish them as a people who (actually) follow the law. Lest their be any doubt, a little later he advises Mordecai not to let Esther "marry a foreigner". But there's more to it than that. Whilst the books of Ezra and Nehemiah present their leading man taking the people back to the law of Moses, there are also a few differences. Scholars disagree as to how much input Ezra had in the process, and whilst Deuteronomy seems to have been a written text by the time of Josiah, some claim that not much else was actually in written form by this point. Mordecai's statement seems to suggest that the laws weren't written by that point, and that Ezra was amongst those responsible for writing them down.

But there's more to it as well. Whilst Mordecai is shown as older and wiser, it doesn't appear that Ezra takes a great deal of notice of him. Indeed it's generally a very unflattering portrayal of Ezra; he comes across as arrogant and judgemental. There's very little compassion and this tends to be underlined by the actor's harsh an unattractive face. So the film doesn't seem to think a great deal of Ezra and is keen to show that not everyone was behind his abrasive approach to reform.Nehemiah's appearance (above) is briefer and he appears much younger than Ezra. There's some debate as to which of these two men acted first, but the film seems to back the theory that Ezra came first and needed Nehemiah's work to complete the job. This again suggest a fairly low opinion of Ezra. Those who value his input more highly tend to suggest that he was completing Nehemiah's work and not vice versa.

Nehemiah is also portrayed more positively. Whilst still not classically good looking he has a soft, endearing face, and his demeanour suggests he is humble, receptive and teachable. He is, of course, being tutored in the art of wine tasting, but there's enough in this brief vignette to hint at how this Nehemiah's future might pan out.

There were a few other points that I noticed. Firstly, in the film Ezra links Haman to the Amalekites of King Saul's time. This is something I'd missed before, and probably only picked up because it's significance is enhanced in the 2006 Esther film One Night With the King. Both films draw on a Jewish tradition that considered the Amalekite King Agag (whom Saul spares and Samuel kills in 1 Sam 15) to be the ancestor of Haman who is described in Esther 3:1 as "Haman son of Hammedatha, the Agagite".The film actually pays quite a lot out of attention to the various names. For example, as with the Bible, Esther is originally called Hadassah, but as she is taken to the palace Mordecai tells her to change her name to Esther - a Persian name. Later on the chief Eunuch, Hegai, somewhat awkwardly, expounds the meaning of the name. It's a variation on the name Ishtar - the Babylonian goddess of love. It's kinda funny that originally this name was chosen to sound un-Jewish, and yet these days Esther it's considered a classic Jewish name.

The film also calls Esther's husband Ahasuerus. This is in line with the original texts, but most translations these days use Xerxes instead. Whilst it's likely that Ahasuerus and Xerxes are one and the same, I'm glad the film sticks with what's in the text rather than try and interpret it in order to make the story seem definitively historical.

All this and I'm only about 40% of the way through the film! I do seem to recall that the opening part of the film is the strongest, but we'll have to see. The film is already quite different to how I remember.

Thursday, July 10, 2008

Jeffrey Wells on King of Kings

Jeffrey Wells has a brief piece on Nicholas Ray's King of Kings (1961) which is showing tonight at the American Cinematheque's Egyptian Theatre on Hollywood Boulevard. King of Kings has always been my guilty pleasure amongst my top ten Jesus Films. It's easy to make disparaging remarks about it, but even in spite of it's flaws I still love it. Wells gives five reasons why the film is well worth seeing and I have to agree with them all.
(a) Miklos Rosza's score, particularly the overture;
(b) Ron Randell's performance as Lucius, the thoughtful, morally conflicted Centurion;
(b) Jeffrey Hunter's lead performance during the last third;
(d) the shots that show perfect focus in both the foreground and background (which was pretty amazing during a time in which films would commonly rack focus to catch the foreground or background, but never both); and
(e) the eloquent narration by Ray Bradbury.
Point "e" is a little confusing, as Ray Bradbury (who will introduce the film tonight) actually wrote, rather than performed, the narration. That role was, of course, fulfilled by Jeffrey's namesake Orson Welles.

I have a number of posts on this film already, including a scene guide and a review and I also wrote and performed a podcast on King of Kings about this time last year.

Wells also has a follow up piece comparing the film with Ray's best known work Rebel Without a Cause, where he talks about one of my favourite aspects of the film - its use of colour. There's also this great comment towards the end.
"In defining the major Jesus films of the '60s-70s period, it's fair to say that Stevens' The Greatest Story Ever Told is the Protestant version, Zeffirelli's Jesus of Nazareth is the Catholic version, Pasolini's The Gospel According to St. Matthew is the Marxist version and King of Kings is the Zionist version."
Thanks to Peter Chattaway for the tip offs.

Wednesday, July 9, 2008

St.Paul's 2000th Birthday

I only realised this yesterday, but, apparently the Pope has declared that the next 12 months are to be a year long celebration of the 2000th anniversary of the birth of St. Paul. Although it's fairly unclear when exactly Paul was born, those who think we have sufficient data to make such a call tend to go for sometime between 5 and 10 BCE. I'm slightly sceptical that we have enough evidence to really be sure even of that kind of range. I suspect that the Pope simply thinks it's an event that should be celebrated, and so just chose an appropriate year.

The image above is an extended stamp type thing from Malta (which was actually what drew my attention to it - it's obvisouly a bigger deal over there than it is here) and there's a little more on this here

Friday, July 4, 2008

Modern Parables

© 2008 Compass Cinema.

Jesus' parables have long presented filmmakers and storytellers with a dilemma. Not only are they good stories in and of themselves, but they have shaped our culture and influenced western society's manner of thinking. Yet at the same time, they are so influential and well known that it's incredibly hard to re-tell these stories and keep them fresh. Many of the parables rely on their punchlines for their sense of drama. That's lost when the story is so well known. It's like watching Sixth Sense again. Second time around you can admire it's craft, but it's never the same.

For feature film directors, the parables are also too short. Whilst occasionally you get someone like Richard Thorpe who makes a film like The Prodigal, few writers find much merit in padding out Jesus's ultra-short stories into a 90 minute movie. The Prodigal manifestly failed to inspire other filmmakers to do likewise, and with good reason. If modern-day filmmakers have even attempted to re-tell these stories they've kept it short, and usually animated. In other words most filmmakers either think better of it and do something else, or they press on and make a turkey. Or a cartoon.

So, as you can probably tell, my initial hopes for Modern Parables, a series of short, live-action, films based on six of Jesus's stories, were not particularly high. Thankfully, this series has bucked this disappointing trend. It's obvious from the packaging that the producers of this series have a great love for what they're doing and a determination to deliver the best product that they can. It's, no doubt, why the film is shot is lush high definition, why the cinematography is so involving, and why it manages to imbue many of the films with such emotion, and a sense of significance that befits the material.

© 2008 Compass Cinema.

It's to the producers credit that they are flexible enough to try different approaches depending on the material, rather than simply trying to apply a one size fits all template. So the first film is a comic look at the Parable of the Hidden Treasure (Matt 13:44). Rather than treasure, a man finds oil in his field. He sells everything he has at auction and a yard sale. The source material is a bold, colourful metaphor and the decision to re-tell it with comedy pays dividends.

Next up is Samaritan. Perhaps the most atmospheric of the lot, in parts it's almost entirely silent but is complemented by a moving strings sound track. Whilst it would have been near impossible to completely hide the twist, it's bold enough to put an evangelical Christian doctor in the role of the bad guy and a Arabic newspaper reading taxi-driver in the role of hero.

Similarly bold is its attempt to make sense of the Parable of the Shrewd Manager. It's one of those stories that has left many a theologian scratching his head over the years, trying their best to wade through a mire of unsatisfactory explanations. This version's strength is that it avoids over-interpreting the story. It's such a difficult parable to unravel 2000 years after it was originally uttered that the film simply opts to limit its interpretation to translating the story into a modern context. It also refuses to make its leading anti-hero more wholesome. The lack of a sympathetic character means that it's a less likeable film as a whole, but it's an honest presentation of what we find in the text. The result is that, for me at least, the parable really came alive for the first time. It's so good to see a Christian film that respects its audience's intelligence enough to leave them to figure it out for themselves rather than trying to force on them any one particular understanding.

© 2008 Compass Cinema.

No collection of of short films would be complete without one shot in black and white and The Widow and the Judge duly obliges. Again the images are poignant and beautiful, and Joanne Morgan gives a quiet dignity to the film's leading lady. The Judge isn't rounded out quite as well as Morgan's widow, and it's hard to understand why he acts as he does. But perhaps that was one of the original points of the story.

With The Sower the producers tried something a little more daring, no doubt because the Parable of the Sower is not really a parable at all but an extended metaphor. Instead of dramatising the story, it's a documentary based on an interview with a modern day grain farmer. Unfortunately this adventurous move doesn't really come off. Whilst it's one of the best-looking films in the series, the interviewee doesn't really hold the audience's attention. The concept behind this particular short means it is utterly reliant on a charismatic and engaging lead, and when he doesn't quite deliver, the film withers for lack of deep enough soil.

© 2008 Compass Cinema.

The final entry is interestingly titled Prodigal Sons. Once again the filmmakers attempt a novel approach, this time telling the story from the point of view of the elder son. Again the producers find a suitably apt parallel from modern life, and it's easy to sympathise with the elder son's plight. However, the film loses something when he addresses the camera directly. Still there are arresting images aplenty and the mellow country soundtrack is a wonderful accompaniment.

Each film is accompanied by a talk of around the same length and, like the shorts themselves, each takes its own approach. They'll work well for groups that enjoy an expert-listener model of learning whilst those who prefer straight out discussion make want to head straight for the material provided with the set.

But it's the individual films that are, rightly, this series' biggest attraction. The website for Modern Parables states that they want "to re-create the emotional immediacy that Jesus’ 1st-century audience felt when hearing the parables". And more often than not, they succeed.

Thursday, July 3, 2008

Biblical Studies Carnival XXXI

Photo by Tim Parkinson, used under a Creative Commons Licence

Hot on the heels of yesterday's 30th Biblical Studies Carnival, is James R. Getz Jr.'s entry for June. As always there are a number of interesting posts, and I was particularly interested by the mention of biblioblogger search plugin for the new Firefox. Not had the chance to test it out yet, but it looks like it might be very useful.

The next Biblical Studies Carnival will be at Ancient Hebrew Poetry. For more information on these carnivals, including where to submit pieces visit the Biblical Studies Carnival Homepage.

Wednesday, July 2, 2008

Mary German DVD Release

Abel Ferrara's Mary is released on DVD in Germany tomorrow, and I'm struck by just how different the German cover (on the left) is to the French version (right). I own the French version, and the colour tones and lighting of that cover appear to emphasise the film's biblical component, whereas the German version seems to stress the modern day angle. Given that very little of the film is set in the past (or rather a film of the past) this is perhaps gives a better sense of what the film is about. On the other hand, aside from loyal Ferrara fans, the film's religious angle is probably its biggest draw (or perhaps third behind Binoche). I also wonder, though whether this is to do with the predominance of Catholicism in France and of Protestantism in Germany.

For what it's worth it looks like the DVD has both English and German soundtracks, but only German subtitles. My previous posts on this film include my review and some scene analysis with extensive quotes form the film.

Biblical Studies Carnival XXX

Photo by Tim Parkinson, used under a Creative Commons Licence

It's very late in coming, but, credit to him, Tyler Williams has finally posted the 30th Biblical Studies Carnival. As someone who has, himself, been struggling of late to keep up with his on-line commitments I can more than sympathise and I'm very pleased he stuck to the task.

The next Biblical Studies Carnival should be along any moment and will be hosted by James R. Getz Jr.'s Ketuvim blog. You can read more details about these carnivals, at Tyler's Biblical Studies Carnival Homepage.