Though I enjoy watching new movies, I love to watch certain movies again and again, depending on the calendar.
In the fall I imagine I am sitting in Notre Dame Stadium, chanting with the crowd “Rudy, Rudy.” At Christmas I am shopping in Bedford Falls and discussing my wonderful life with George Bailey. As spring approaches, I am helping Ray Kinsella plow up his corn and build his field of dreams.
I look forward to these films and the happy mood they put me in. However, every Lent I make a concerted effort to watch Mel Gibson’s The Passion of the Christ. Unlike the other films, this one puts me in a somber, reflective mood that’s perfect as I prepare for Holy Week.
It helps that Mel Gibson and his production team took great measures to create a realistic portrayal of Roman-occupied Jerusalem and the dramatic events during that first Holy Week.
When you watch Gibson’s film, it looks like you have stepped into a painting by Caravaggio, an Italian painter during the Baroque period. Like the painter, the filmmakers used multiple lighting schemes, such as the shades of blue in Gethsemane or shades of gold in the Temple, to create specific moods or “emotional realities” throughout the film. The use of slow motion techniques adds to these moods.
To stage the dramatic last scene of the crucifixion sequence, Gibson used the painting “The Pieta” by French artist William Bouguereau for inspiration. After Jesus is taken down from the cross, Mary holds the crucified Christ. The painting and the final scene show Mary, not looking at Jesus, but straight at us with a far-away look in her eyes. She is strong; she does not break down like other women, but the pain is there. “Both the painting and this scene have the same essence, the same look in Mary’s eyes, sort of a pleading grief, full of pain,” says Gibson in the DVD extras.
Languages and subtitles
The film’s dialogue was recorded in two of the languages spoken at that time: Aramaic and Latin, along with English subtitles. “Using Aramaic and Latin brings people backward in time” says Rev. William J. Fulco, a Jesuit language scholar who served as the film’s translator. “We are like flies on the wall to the Jesus event.”
The filmmakers also used the languages to artistically convey a depth to Jesus’ personality and his conviction to complete his task. When Jesus appears before Pontius Pilate for the first time, Pilate addresses him in Aramaic. As a good administrator stationed in Jerusalem for eleven years, Pilate would have known the local dialect. Pilate asks him in Aramaic “Are you the King of the Jews?” However, Jesus answers Pilate in Latin. The filmmakers wanted to show that Jesus knew what Pilate was doing and that he was trying to beat Pilate at his own game.
Throughout the story arc that starts in Gethsemane and ends on Calvary, there are short flashbacks to earlier times in Jesus’ life. When Pilate is washing his hands, Jesus recalls the day before when he washed his hands before the Last Supper and broke bread with his disciples. As Jesus nears the large hill of Calvary, he remembers standing on a hill, teaching the people to “love your enemies” and to pray for them.
One of the most poignant moments is when Jesus carries the cross and falls for the second time. His mother Mary runs to him, just as she did many years ago when a young Jesus tripped and fell. “I’m here,” she tells him. Jesus, like all children, confides in his mother. Taking her face in his hand, he utters a line from the Book of Revelation: “See, mother, I make all things new.”
The filmmakers used special makeup and visual effects to realistically depict the wounds Jesus received during the scourging and the crucifixion. Makeup sessions for Jim Caviezel (who portrayed Jesus) lasted anywhere between three to eight hours. During this time, the makeup artists applied large sheets of rubber prosthetic wounds all over his body. Then in post production work, computer artists applied “digital skin” patches that covered up the wounds. As a Roman guard swung a cane or a digital whip and appeared to hit Jesus, the skin patch was digitally wiped away, revealing the artificial wounds underneath.
“One of the biggest struggles was trying to make the makeup as real as possible and at the same time retain a human element, something the audience could connect to,” says Christien Tinsley, one of the makeup artists.
Whenever I watch The Passion of the Christ, I feel shock, despair, embarrassment and amazement. The film helps me understand, ever so slightly, how terrible the crucifixion must have been for our Lord.
Since he endured this suffering for me, the least I can do every Lenten season is watch the film, try to understand what he went through, and then dedicate my life to be more like him. That is my reel life journey.
It can be yours, too.