The power of Passion
Ervell E. Menezes

WHEN the pre-release of a film is so great as in Passion — the real name is The Passion of the Christ — it is difficult for the film to live up to expectations. But this magnum opus by Mel Gibson does precisely that, which of course is saying a lot. True, there are moments of excessive violence, as in the scourging at the pillar and the nailing to the cross, but it surely does make a powerful impact as it steers clear of controversy.

The last big film on Christ was Martin Scorsese’s The Last Temptation of Christ (based on Nikos Kazantzakis’ novel) in 1988 and it raised quite a furore even though it was true to the novel. It dealt with a figment of Christ’s imagination. Decades earlier, we had Jesus Christ Superstar (1970s) and that tended to glorify Judas instead of Christ. This one is bang on the spot, except for the goriness, as it captures the last lap of Christ’s life—-to Calvary and the Crucifixion.

Beginning powerfully with Christ in the Garden of Gesthamane and the elements of evil that come to tempt him, it goes on to trace the thorn-strewn path he has to trace right up to Calvary. The high priest Caiphas is thirsting for his blood, Pontius Pilate, of the I-wash-my-hands fame, is vacillating and non-committal, and also Simon of Sirene, who is made to help him carry the cross. But it all begins with "I am he," as Christ (Jim Caviezel) admits in the Garden after Judas has done his act ... "Judas, you betray the son of man with a kiss."

Christ’s mother Mary (Maia Morgenstern) and Mary Magdalene (Monica Belluci) are always shown close to him as his Apostle John ("mother behold thy son`85son behold thy mother"). But it is the juxtaposition of the present (laceration and blood-spattered) with the past (staid and in all his glory) that brings out the contrast so effectively. Also the angst that comes from one at the mercy of the taunting, blood-thirsty mob.

The screenplay is minimal, the visuals stunning and the editing superb. The sub-titles are brief and to the point and Christ’s last words are presented most effectively. When he tells the good thief "this day thou shall be with me in paradise" it is almost climactic. But equally soulful is his mother’s plight when she entreats him: "My son, where, when, how will thou choose to be delivered?" Director Mel Gibson hasn’t missed even an iota of the action and the essentials are captured with panacea.

The crowd scenes are immaculate, the costumes authentic and the build-up of Christ immaculate. Quotes like "My kingdom is not of this world" keep flowing from Christ’s lips but they are well-distanced so that they will not be missed and the final cry of desolation "Lord, Lord, why has thou forsaken me" only brings out the human element that grips the son of God.

A good deal of the violence is off-screen but the one on-screen too could have been minimised. That is the only minus point in a film that has been exceptionally well conceived and equally brilliantly presented. Judas is given enough footage without in any way glorifying him and Hristov Shopov’s is a good cameo as the shilly-shally Roman Governor Pontius Pilate. Jim Caviezel underplays the part of Christ and Maia Morgenstern is ever deserving of compassion as his suffering mother. Monica Belluci could have been more emotional as Mary Magdalene but the focus is rightly left to Christ.

The Passion of the Christ is more than a just a film. It is a real-life experience. Don’t miss it.

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