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The depictions of Christ in modern artworks are not irregular, yet they are often not accurate in favor of dramatic effects and viewers’ interest. By taking an in-depth look into these artworks, scholars can gain an insight into how the majority sees the events described by Biblical sources. One of these movies – The Passion of the Christ by Mel Gibson – presents a challenging case due to several factors. Being one of the most controversial and one of the highest-grossing films of all time, The Passion of the Christ is a piece of art worth analyzing. This essay overviews this film, examines how the writer adapts the Gospel accounts into his work, and discusses discrepancies with the source.
Mel Gibson decided to focus the entire length of his movie The Passion of the Christ, which was released in 2004, on the last day of the human life of Jesus. Gibson’s portrayal of Jesus as a human being that experiences inhumane torture is one of the key aspects of this film. Jesus Christ experiences multiple temptations that promise the avoidance of the inevitable gruesome demise, yet he refuses them stoically (Gibson, 2004). This stoicism serves as a basis of the message that the author intended to deliver with this film. Jesus experiences flashbacks that bring him back to the time when he was spreading the word of God, and they give him the strength to endure his lot (Gibson, 2004). In turn, his torments and eventual death help others to accept God’s truth and defeat the devilish figures behind this treacherous act (Gibson, 2004). The suffering of Jesus plays a crucial role in this film, which has drawn numerous negative reviews (Calvain, 2017). However, this focus has been chosen by the author due to his belief in the fact that suffering can be the key to redemption (Calvain, 2017). In The Passion of the Christ, the depiction of Jesus aims to portray him as a relatable character who endures great pain to provide salvation for others.
While the events depicted in the movie have been described by all Gospels, there are differences that can help viewers to trace the origins of the film to a particular Gospel. Specifically, many images invoked by the author are linked with the Gospel of John. For example, Jesus’s flashbacks during his flogging take him back to the moment when he washed the feet of his disciples, which replaces the Last Supper in the Gospel according to John. This scene in the film bears a unique context, as Jesus distances himself from the pain inflicted on him to remember the closeness and intimacy of the Christian community that gives him endurance (Lundberg, 2009). There are scenes that point towards the presence of other Gospels as the sources for Gibson’s work, although they are less prominent than the Gospel of John. For example, the scene of Pilate, who washes his hands in a futile attempt to distance himself from the guilt of prosecuting Jesus Christ, is taken from the Gospel of Matthew (Holderness, 2014).
The depiction of violence serves as an additional link to the choice of Gospels by Mel Gibson. Notably, the Gospels of Matthew and Luke do not contain any paragraph that would indicate the fact that Jesus was flogged, while John does mention this event in his account (Lundberg, 2009). While the Gospel of Mark also includes similar remarks, there are no other distinct pointers towards this source (Lundberg, 2009). The Passion of the Christ primarily follows the Gospel of John with its similarity in quotes and the depiction of events.
Indeed, this film contains numerous additions by Mel Gibson based on his vision of this monumental part of human history that can change the perception of the event depicted in it. Calvain (2017) argues that “a good number of scenes in the movie constitute marginal and unbiblical ingredients visibly aimed at enriching the aesthetics of the film” (p. 5). Namely, by adding a physical manifestation of Satan, the author has shown that there are superficial powers behind the people’s decision to crucify Jesus. This depiction alone can cause a different view on the event, as the guilt of people can be transferred to the manipulator behind their actions and decisions. There are other additions made on the basis of an artistic license that further turn the film away from the Gospels, such as temptations that Jesus experiences prior to his crucifixion. Calvain (2017) concludes that “the film has mostly been branded a blasphemy” due to these scenes (p. 3). Despite these claims, the movie found its audience and, ultimately, was a success.
In conclusion, The Passion of the Christ is an inspiring piece of art that had a prominent effect on the perception of Christianity across the globe. However, Gibson’s intentions did not include the ideally accurate depiction of the last day of Jesus’s life as a human. Instead, the author focuses on the hardships God’s Son went through to absolve humanity and how his suffering and death are linked with the redemption of people in the eyes of God.
References
Calvain, E. F. (2017). Christian films and the gospel truth: A critique of Mel Gibson’s “The Passion”, Roger Young’s “The Bible,” and Martin Scorsese’s “The last temptation of Christ”.Advances in Wireless Communications and Networks, 3(1), 1-9. Web.
Gibson, M. (Director). (2004). The passion of the Christ [Film]. Newmarket Films.
Holderness, G. (2014). Re-writing Jesus: Christ in 20th-Century fiction and film. Bloomsbury Publishing.
Lundberg, C. (2009). Enjoying God’s Death: The passion of the Christ and the practices of an evangelical public.Quarterly Journal of Speech, 95(4), 387-411. Web.
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