What The Critics Say

"Instead of being moved by Christ's suffering, or awed by his sacrifice, I felt abused by a filmmaker intent on punishing an audience, for who knows what sins." David Ansen NEWSWEEK "This is definitely not for the squeamish, which is unlucky for them – it’s a must see." Drew Turney FILMINK "The movie Gibson has made from his personal obsessions is a sickening death trip, a grimly unilluminating procession of treachery, beatings, blood, and agony." David Denby NEW YORKER "Serves as a powerful condemnation of any organized religion that aspires to governance or allow clerics to preach contempt and whip sheepish followers into a frenzy." Rob Blackwelder, SPLICEDWIRE "The Passion of the Christ is powerfully moving and fanatically obtuse in equal doses." Peter Travers ROLLING STONE "The crucifixion - nails and all - and the unrelenting barrage of physical abuse suffered by Jesus on the way to the crucifixion site at Golgotha is upsetting, believable, energetically shot and, perhaps more than anything, emotionally draining. It is certainly nothing like anything you learned in religious studies at school." Toby Forage NEWS ENTERTAINMENT "Mel Gibson shows once again that he's skilled at depicting violence. But you'd be hard pressed to find evidence of 'tolerance, love and forgiveness' that the producer-director-co-writer insists he's trying to communicate." Gene Seymour NEWSDAY "In the end, one can respect Gibson's high intentions and dedicated work, while remaining spiritually and dramatically unmoved by the result." Michael Wilmington CHICAGO TRIBUNE "The tragic story left me numb rather than inspired." David Stratton SBS MOVIE SHOW

At A Glance

"An all-consuming force. It never lets up." Jeffrey Huston MIXED REVIEWS

One of Mel Gibson’s earliest decisions as director of "The Passion of The Christ" was to have the Jesus of his film speak the same language that the historical Jesus spoke 2,000 years ago. That language is Aramaic, an ancient Semitic tongue closely related to Hebrew that today is considered by some linguists to be a 'dead language', still used in dialects by only a small number of people in remote parts of the Middle East. "Once, however, Aramaic was the lingua franca of its time, the language of education and trade spoken the world over, rather like English is today. By the 8th Century, B.C. the Aramaic tongue was widely in use from Egypt to Asia Major to Pakistan and was the main language of the great empires of Assyria, Babylon, and later the Chaldean Empire and the Imperial government of Mesopotamia. The language also spread to Palestine, supplanting Hebrew as the main tongue some time between 721 and 500 B.C. Much of Jewish law was formed, debated and transmitted in Aramaic, and it was the language that formed the basis of the Talmud. Jesus would have spoken and written what is now known as Western Aramaic, which was the dialect of the Jews during his lifetime. After his death, early Christians wrote portions of scripture in Aramaic, spreading the stories of Jesus’ life and messages in that language across many lands. As the historical language of expressing religious ideas, Aramaic is a common thread that ties together both Judaism and Christianity. Professor Franz Rosenthal wrote in the Journal of Near Eastern Studies: "In my view, the history of Aramaic represents the purest triumph of the human spirit as embodied in language (which is the mind’s most direct form of physical expression).: It was powerfully active in the promulgation of spiritual matters." For Gibson, too, there was something ineffably powerful about hearing Christ’s words spoken in their original language. But to bring Aramaic to life on the modern motion picture screen was going to be an enormous challenge. After all, how do you create a film in a lost First Century tongue in the middle of the 21st Century? Gibson sought the help of Father William Fulco, Chair of Mediterranean Studies at Loyal Marymount University and one the world’s foremost experts on the Aramaic language and classical Semitic cultures. Fulco translated the script for The Passion of The Christ entirely into First Century Aramaic for the Jewish characters and “street Latin” for the Roman characters, drawing on his extensive linguistic and cultural knowledge. After translating the script, Fulco served as an on-set dialogue coach and remained “on call” to the production, providing last-minute translations and consultations. To further authenticate the language, Gibson also consulted native speakers of Aramaic dialects to get a sense of how the language sounds to the ear. The beauty of hearing this dying language spoken aloud, he recalls, was very moving. Ultimately, the entire international cast of The Passion of The Christ had to learn portions of Aramaic: most doing so phonetically; becoming perhaps one of the largest groups of artists ever to take on an ancient tongue en masse. For Gibson, the film’s 'foreign language' had another benefit: learning Aramaic became a uniting factor among a cast made up of many languages, cultures and backgrounds. "To bring a cast from all over the world to one place and have them all learn this one language gave them a sense of common ground, of what they share and of connections that transcend language", Gibson says. It also compelled the cast to look more deeply into their physical and emotional resources above and beyond the use of words. From the beginning, Mel Gibson knew a key to making The Passion of The Christ would be finding an actor capable of embodying to the highest degree possible both the humanity and spiritual transcendence of Jesus Christ. Gibson sought an actor who could lose himself in the role entirely, and whose identity would not interfere with the realism the director was seeking. The search led Gibson to James Caviezel, last seen in "The Count of Monte Cristo". Gibson had been riveted by a picture he had seen of Caviezel; especially by the actor’s penetrating eyes and transparent expressions, which Gibson felt had the rare ability to convey the essence of love and compassion in utter silence. When Gibson called Caviezel early on, the actor was so taken aback his response was "Mel Who?" Gibson jovially responded "Mel Brooks". But the conversation soon turned serious when Gibson explained the role that he had in mind for Caviezel; a role Gibson told the actor he considered so tough and fraught with potential pitfalls he himself would balk at playing it. Caviezel was daunted but energized by the challenge before him. It struck him as a remarkable coincidence that he had just turned 33, the same age as Jesus in the last year of his life. A practicing Catholic, Caviezel also found inspiration in his own religious beliefs and devotion, using prayer as a means to more deeply explore the character, words and tribulations of Jesus. But really nothing could have prepared him for the incredible journey he would undergo during the production of The Passion of The Christ. "For day after day of filming, I was spat upon, beaten up, flagellated and forced to carry a heavy cross on my back in the freezing cold. It was a brutal experience, almost beyond description. But I considered it all worth it to play this role," he recalls. Gibson was quite clear to Caviezel from the start that it was his intention to film Jesus’ suffering with as much authenticity as possible, never flinching from the chaos and violence that Christ was swept up in according to accounts. Even for Caviezel, the torment Jesus endures throughout the film was terrifying at times but he says: "No one has ever showed Jesus in this way before, and I think Mel is showing the truth. Mel hasn’t used violence for violence’s sake and it has never felt gratuitous. I do think the realism will probably shock some people but that is why the film is so incredibly powerful." During the demanding production, Caviezel had to face his own physical vulnerabilities in a profound way. In one of the film’s most graphic sequences, Christ is scourged – or whipped – extensively, then further flayed with an infamous Roman torture device known as a flagrum, or 'the cat o’ nine tails', a whip designed with multiple straps and embedded with barbed metal tips to catch and shred the skin and cause considerable blood loss. To capture Christ’s resulting wounds, Caviezel had to undergo grueling, full-body makeup sessions that lasted for hours. But that was just the beginning of his trials, for the irritating makeup soon caused his skin to blister, preventing him from even sleeping during this time. He also spent more than two weeks filming the crucifixion scenes, during which he had to carry, or more often drag under great duress, a 150 pound cross (about the half the weight of a real crucifixion cross) to Golgotha, and later to be suspended from it. Caviezel trained for the tortuous positions he would have to stand in by holding squats against a wall for up to ten minutes at a time and lifting weights to strengthen his lower back. In addition, he spent these weeks working in a loin cloth in the middle of the Italian winter. It to took its toll and Caviezel experienced several bouts with hypothermia, often becoming so cold he could no longer speak. At times, the crew had to put heat packs on Caviezel’s frozen face just to warm up his lips enough to move. Talk about passion! When I first heard the news reports that some churches were setting up councellors and support groups for Christians who had seen "The Passion Of The Christ", I was to say the least a little amused. Now having seen the film I am sure that they will be needed. The story of Christ's treatment at the hands of the Pharisees and the Romans has been sanitized over the years and what has been portrayed in films and plays would have been so far removed from what actually happened that one could describe these attempts as truly laughable. "The Passion Of The Christ" certainly will dispell any thoughts that Jesus received a 'slap on the wrist' and a quick crucifixion that wasn't to harsh for the Son Of God to bear. No, the Mel Gibson interpretation of the last hours of Christ's life is a terribly brutal one, but one which is, unfortunately, pretty close to the truth. Now I must point out that I have long been a believer in the message of the Bible that Jesus was indeed the Son Of God and yes I do believe in a supreme being called God. I sometimes pray during the day but I 'religiously' pray before I go to sleep every night, no matter what. Brought up Salvation Army and with an avid interest in Bible History, Creation and the story of Christ's time on earth I must say that I found "The Passion Of The Christ" to be a very dispassionate film. That's not to say there weren't times when I did feel my heart tugged at, but to be honest. Oscar winner Gibson's version of the events is so brutal it belted any feelings I had into submission. I felt empty, an emotionless shell. Sure it was faithfull to the tragic events, sure the photography was stunning, sure some of the cast were convincing, but for someone who is known for having a cry at numerous moving films, this time the tear ducts didn't kick in. Committed Christians will no doubt face many emotional hurdles with "The Passion Of The Christ", particularly the flogging scene at the hands of the Romans. It is brutal, it is relentless, but it left me feeling as though the film-makers were trying to punish the audience, trying to place us poor sinners in the position of Christ and punish us for our sins, when in fact the real message is that he suffered this pain, humiliation and despair for our sins. No, if you ask me truly what I thought I'd have to say "The Passion Of The Christ" left me a little cold at the end of what is a long, long journey that nearly seems as long as the one Froddo and Sam took in the final edition of "Lord Of The Rings:The Return Of The King". That doesn't mean I won't recommend "The Passion Of The Christ" to readers for it is worth seeing, if only once, that is all it needs. James [Jim] Caviezel is brilliant in the role of Jesus, Hristo Naumov Shopov is solid as Pontius Pilate and Rosalinda Celentano makes a convincing Satan and the images are very haunting. It's a film that will fire up plenty of discussion and certainly prick many a concience. Cast & Crew Bytes "The Passion Of The Christ" was Directed by Mel Gibson ["Mad Max", "Tim", "Gallipoli", "Braveheart" and "What Women Want"], the producers include Stephen McEveety ["What Women Want", "Payback" and "Braveheart"] and Bruce Davey ["Forever Young", "Maverick", "We Were Soldiers" and "Payback"], the screenplay was written by Mel Gibson and Benedict Fitzgerald ["Wise Blood" and "In Cold Blood"], the score was composed by John Debney ["Liar Liar", "Elf" and "Bruce Almighty"] and "The Passion Of The Christ" was filmed under Director of Photography Caleb Deschanel ["The Right Stuff", "Natural" and "The Patriot"].
"The Passion Of The Christ" stars James Caviezel ["Angel Eyes", "High Crimes" and "The Count Of Monte Cristo"], Maia Morgenstern ["Nostradamus" and "The Seventh Room"], Luca Lionello ["The Devil in the Flesh"], Monica Bellucci ["Malena", "Tears Of The Sun"] as Mary Magdelene, Hristo Naumov Shopov ["Requisite". "Mindstorm" and "Alien Hunter"] as Pontius Pilate and Rosalinda Celentano ["Domenica", "Padri" and "The Order"] as Satan. The Story

"A film so narrowly focused as to be inaccessible for all but the devout." ... Kenneth Turan LOS ANGELES TIMES

The patience of the Pharisees has worn thin. The man from Nazareth is becoming too popular, gathering too many supporters, challenging their position of power. For too long, he has been a thorn in their sides. With the help of Judus Iscariot they will attempt to put an end to this upstart who calls himself the Son Of God. But they themselves cannot take his life, for it would break the 'law'. To rid themselves of him they must appeal to the Romans. They take him before Pontius Pilate, but he isn't convinced. And he must be careful. Ceasar has warned him that if he loses control of his charges he will pay with his life. Pilate sends Jesus to Herod. Herod believes Jesus is a little crazy and sends him back to Pilate. The Pharisees and those who support them are relentless in their appeals to him. Pilate offers them a choice, a murderer named Barabas or their King. They choose a murderer. Now the prophecies will finally be full-filled. The "Lamb Of God" will be slaughtered, thanks to the very people he came to save. Not from the Romans, but from themselves. The Verdict "Will traumatize committed Christians with its violent portrayal of Jesus Christ's treatment at the hands of the Romans. It's violent, excessive, ugly, haunting, long, but certainly a passionate approach to the last moments of Christ's life by Gibson. MInd-numbing but worth one look at." The Cast

James Caviezel Maia Morgenstern Monica Bellucci Hristo Jivkov Hristo Naumov Shopov Rosalinda Celentano Francesco Cabras Claudia Gerini Ted Rusoff Francesco Gabriele Angelo Di Loreta Romuald Andrzej Klos Sergio Rubini Roberto Bestazzoni Abel Jefry Luca Lionello Mattia Sbragia Danilo Maria Valli

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Jesus the Christ Mary Mary Magdalene John of Zebedee Pontius Pilate Satan Gesmas Pilatus Wife 2nd Elder 3rd Elder The 5th Elder The Accuser The Roman Dismas Jewish Guard Jewish guard Judas Iscariot Caiphas Lazzaro

The Crew Directed by Mel Gibson Written by Benedict Fitzgerald and Mel Gibson Produced by Bruce Davey/Mel Gibson and Stephen McEveety Executive Producer Enzo Sisti Original Music by John Debney Cinematography by Caleb Deschanel Casting by Shaila Rubin Production Design by Francesco Frigeri Set Decoration by Carlo Gervasi Costume Design by Maurizio Millenotti Run Time 127 minutes Rated MA15+ [AUST] Copyright ©2004 - Icon Films - All Rights Reserved Copyright © 2004 - Impact Internet Services & The Movie Pages - All Rights Reserved