“The Passion of the Christ” – the Torment of the Divine Body [Review]

Title: “The Passion of the Christ”

Release Date: 2004

Director: Mel Gibson

Cast: Jim Caviezel, Maia Morgenstern, Monica Bellucci, Francesco De Vito and others

Mel Gibson’s “The Passion of the Christ” is undoubtedly one of the most talked-about films in the history of cinema. The viewer becomes an almost eyewitness to the suffering and death of Jesus Christ. The events that took place in Jerusalem over 2,000 years ago are brought to life with extraordinary realism and shock the audience. It is precisely because of its drastic naturalism that “The Passion of the Christ” divided critics and viewers in their assessments. Certainly, no one else has shown the thoroughly human dimension of Christ in cinema as Gibson has. Jesus, who sweats blood out of fear, screams in pain under the lashes tearing his skin, and dies in agony on the cross, is the living, suffering, tortured body of God.

“The Passion of the Christ” – Mel Gibson’s great work

“The Passion of the Christ” is one of the most important works in Mel Gibson’s directing career. The filmmaker had already won an Oscar in 1995 for directing ‘Braveheart,’ but it was the film about the Passion of Christ that brought him worldwide fame. Nominated for three Oscars: for makeup, music, and cinematography, the film ultimately did not win any awards, but it certainly left a lasting mark on the history of cinema. “The Passion of the Christ” was also a huge box office success, grossing over $600 million.

The film tells the story of the last 12 hours of Jesus’ life: from his prayer in the Garden of Gethsemane, through his journey to Golgotha, to his martyrdom on the cross. In the final scene, we also see the resurrected Jesus sitting in a stone tomb next to an empty shroud in the light of the rising sun, and when he stands up, the camera shows the nail holes in his hands. The film also features flashbacks from Christ’s life, explaining some of the storylines and adding meaning, such as the washing of the Apostles’ feet, the Last Supper, and scenes from his childhood.

“The Passion of the Christ” is distinguished by its superb acting. Both Jim Caviezel, who plays Jesus, and the main female characters: Maia Morgenstern as Mary and Monica Bellucci as Mary Magdalene, give evocative, realistic performances that will linger in the memory for a long time. Facial expressions, gestures, and glances are the main tools used to convey the tragedy of their existential situation, evoking genuine compassion.

“The Passion of the Christ”: a masterpiece of cinematic realism

The uniqueness of Gibson’s movie lies primarily in his extremely realistic method of depicting events. This is the overriding goal to which all other aspects of “The Passion” are subordinated. In addition to the set design, makeup, and costumes, which are usually the most important elements in creating the atmosphere of an era, other important details were also taken care of in the film. The entire film was recorded in Aramaic and Latin, the languages spoken during the time of Jesus. The biblical characters have been brought to life, stripped of their statuesque appearance and given thoroughly human features. Mary is above all a suffering mother who wants to help her son, the Apostles flee in panic from the temple guards, Peter, torn by the mob in the courtyard, denies his Teacher. These elements, familiar from the Gospels, are emphasized in the film to demonstrate authentic human reactions in extreme situations.

The psychology of the enraged crowd, which acts as a single organism, is also shown. The people in front of Pilate’s palace shout “crucify him!” with real passion, threatening and cheering at the news of the sentence. The Roman soldiers whipping Jesus, inflicting terrible blows on him, fall into sadistic euphoria. The spurting blood only fuels their sadistic instincts, and the suffering of a man publicly tortured becomes a great spectacle for the crowd.

At the center of “The Passion of the Christ” is, of course, the realism of Jesus’ suffering. From the first scene to the last, the physicality of his nature is emphasized. The teacher from Nazareth is genuinely afraid and hesitant, and above all, he suffers unimaginably. This suffering is thoroughly physical, but also mental. Humiliation and disgrace are integral elements of the punishment, symbolized by the crown of thorns and the scarlet robe. Gibson’s film does not leave the viewer indifferent for a moment, forcing them to become emotionally involved.

“The Passion of the Christ” as a religious mystery

Despite the extreme naturalism in “The Passion”, Christ’s suffering does not stop at its physical dimension, just as Jesus himself is dual—both God and man. From the very beginning, everything that happens to Christ is part of a higher, supernatural order. When Jesus prays in Gethsemane, the personified figure of Satan appears and sows doubts in his mind. “It is impossible for one man to bear the sins of the whole world,” says the mysterious apparition. And Jesus seems to hesitate. He could ask his Father to take away his suffering.

It is no coincidence that the figure in the black hood accompanies Christ until his death. He watches with a smile as Jesus is whipped, carries the cross, and is finally crucified. He waits until the end, because Jesus can withdraw until the very end, even at the height of his pain, refuse to continue, and come down from the cross. The introduction of this sinister character greatly deepens the psychological and spiritual struggle that rages within Jesus until the very last second. However, death on the cross ends with the words: “It is finished” – Satan howls in the desert, terrified, because hell is empty and he has been abandoned for eternity.

The shocking naturalism in “The Passion of the Christ” is, on the one hand, motivated by a desire for realism, but on the other hand, it is often stylized naturalism. Many scenes clearly refer to the centuries-old tradition of painting, especially Hieronymus Bosch, El Greco, and Vincent Van Gogh. The film has a very thoughtful structure, which shows the story of Jesus as the fulfillment of Old Testament prophecies about the Messiah. Already the opening shots in the Garden of Gethsemane refer to the Book of Genesis and what happened in the Garden of Eden—the fall of Adam and Eve, tempted by the serpent. The moment when Jesus crushes the serpent’s head with his foot is the fulfillment of God’s prophecy about the future of the descendants of man and the descendants of Satan (“He will crush your head, and you will crush his heel”).

What is more, the entire plot fits into the message of Psalm 31. It is with the words of this biblical song that the story of Jesus begins and ends. In Gethsemane, Christ prays: “Pull me out of the net which they have secretly laid for me”. The events that follow are a projection of the dramatic verses describing the Passion:

“Because of all my enemies I have become a reproach and disgrace,

Especially to my neighbors, And an object of dread to my acquaintances;

Those who see me on the street run from me”.

At the moment of death, Jesus utters the verse: “Father, into your hands I commit my spirit!”

Supernatural optics are introduced in many parts of “The Passion of the Christ”. At the moment of crucifixion, there is a sudden change of perspective—the camera quickly moves upward and captures a huge drop resembling a divine tear falling to the ground. An earthquake and a solar eclipse reflect God’s anger and pain. Key scenes are filmed in slow motion, which emphasizes their importance and adds pathos, such as the arrest of Jesus, Peter’s denial, and Christ’s encounter with Veronica wiping his face with a cloth. Realism thus functions here as a manifestation of the human perspective and the human condition of Jesus. However, the presence of another, spiritual horizon of events is constantly emphasized, which makes Gibson’s movie a dramatic mystery with a spiritual dimension.