God in the Movies: When Banal Religion is Disguised by Humour

by Christine Barton

Religion plays such a large role in today’s society that it is not surprising that it finds its way into films (Hesion, 1947). But when we talk about religion in film, what exactly do we mean? Are we referring to films that are formally about religion or that tell stories of the Bible? Are we talking about films that discuss people’s religious beliefs and how they are tested? Does a religious film have to delve into philosophical discussions over the existence and meaning of God? Or, can a religious film simply have themes that relate to religion and spirituality in both direct and indirect ways? The cinema is a source of revelation about our place in the world. Movies reveal our hopes, our fears and what we value as human beings (Stone, 2000). Film offers us a creative and imaginative language that can bridge the gap between the rational and the aesthetic, the sacred and the secular, the church and the world, and thereby provide a refreshing take on old and often sad narratives (Stone, 2000).

Mahan (2002) describes “the effort to transform the written gospel accounts of the life, death and resurrection of Jesus into a compelling film” as one “full of challenges”. The visual representation of Jesus has changed over the course of time, yet in the 6th century the portrayal of Jesus as Pantocrator, with long dark hair and a trimmed beard, became standard (Bakker, 2009). Over time the colour of his hair changed to blonde, but his beard was retained (Bakker, 2009). Long, loose hair was regarded as a symbol of divinity (Bakker, 2009), so it was only natural that this visual depiction was also used in the representation of Jesus in film. Critics argued that because Jesus was a man, he could be depicted in film, but a God who could not be depicted in words certainly could not be reflected in images (Bakker, 2009). So perhaps, as Bergesen and Greeley (2000) suggest, it is the representation of God on the big screen that is a challenge for Hollywood to undertake. Could this be because of Hollywood’s purported hostility to religion (Bergesen and Greeley, 2000) or does it simply boil down to difficulty in presenting a visual depiction of the divine, the transcendent and the almighty

Films about Jesus, God, or religion in general, face the same aesthetic and commercial challenges as any other movie, because as Mahan (2002) suggests, a significant subject does not necessarily always produce a compelling film. Mahan (2002) also argues that the attempt to portray on film the central narrative of religious communities has always been met with suspicion by believers and non-believers alike. Depicting God in film raises issues of whether any visual representation of divinity is acceptable and how this divine God should be interpreted, depicted and represented. Filmmakers attempt this task with their own assumptions and questions of faith in mind (Bakker, 2009; Mahan, 2002), yet through the process of mediatization, the representation of these religious images has become more oriented towards entertainment and the consumer (Hjarvard, 2008).

The media work as agents for religious change through the process of mediatization (Hjarvard, 2008). In fact, the media have become the primary source of religious ideas, by moulding religious imagination in accordance with the genres of popular culture (Hjarvard, 2008). The media have taken over many of the social functions that used to be performed by religious institutions and this is particularly evident through film. This has also led to a gradual secularization and has transformed a society that once had a close identification with religious values and institutions, to a visual culture that turns to the media for all aspects of social life and interpretations of reality.

The media are distributors of religious representations of various kinds and these representations are produced, edited and delivered through genres like film and television. This inevitably leads the media to begin distributing what Hjarvard (2008) refers to as “banal religion”. Holy texts and iconography contribute to the accumulation of banal religious elements that are open to religious interpretation (Hjarvard, 2008). The power relationship between banal religious representations and institutionalized religion may vary, but the increasing role of media in society seems to make more room for the former. As conduits of communication, the media have become the primary source of imagery and texts about magic, spiritualism and religion (Hjarvard, 2008). Consequently, institutionalized religion in modern, western societies plays a less prominent role in the communication of religious beliefs and instead, banal religious elements emphasised by the media move to the fore of society’s religious imagination (Hjarvard, 2008).

In contemporary society, watching movies has become as normal as eating, sleeping or using the computer (Johnston, 2006). Film is now one of the primary sources for telling stories and interpreting reality, with the power of the movie resting on each individual’s gaze (Johnston, 2006). Movies help viewers understand and critique culture, while also allowing them to form perceptions of themselves, their values and their social world (Johnston, 2006). Many also find cinema a rich depository of images that celebrate the human spirit and put us in touch with the divine (Leonard, 2006). While movies themselves are not scriptures, they have the ability to project scripture in a new light in terms of culture and medium (Aichele and Walsh, 2002). They also provide us with much of the imagery that we have previously associated religion with, and this occurs in both over-simplified and over-the-top fashions.

However, many critics have argued that the visual representation of God in film is “futile, indeed false” and that these images “obscure God’s glory and convey false ideas about God”, while also arguing that “God communicates best through word, not symbols” (Johnston, 2006). Reinhartz (2007) further argues that God’s presence in the narrative and his role as Jesus’ father can be shown only indirectly. However, cultural expressions, like films, function as important resources for theological reflection (Johnston, 2006), so it appears to make sense that stories of God are told through the medium of film; a medium that is engaged in by millions. Given the power of the media, becoming conversant with its mixed messages is an essential tool for Christian life, involving a process of inculturation in which viewers can discover where Christ is already active within a given culture (Leonard, 2006).

Instead of trying to catch the miraculous and unmediated light for the screen, filmmakers in more recent times have begun to take a different approach, one more complex, demanding and cogent (Mitchell and Plate, 2007). These filmmakers have chosen to focus on chronicling and analysing the encounter of ordinary people with the divine (Mitchell and Plate, 2007). Right on the cusp of the new millennium, a new kind of religious film began to emerge. This new breed of film steered away from traditional Biblical epics and instead took a more modern approach, incorporating the use of clever humour in order to achieve box office success. Instead of portraying stereotypical Christ-like figures, several films began to take these representations one step further and start portraying the Christian God in human form. Two such films to accomplish this are Bruce Almighty (2003) and Dogma (1999). Both of these films depict a God that has rarely been seen in film before; God as a black man and God as a woman, respectively. These films break out of the traditional pattern and in doing so mount a fundamental and explicit challenge to the links between scripture, history and faith (Exum, 2006). From the very beginning of these films we know we are in for a non-traditional glimpse of God. However, the films do not throw out God’s supreme power and transcendence altogether, but rather focus on how God’s divine presence effects those it strikes (Mitchell and Plate, 2007).

The theologically complex, Bruce Almighty, humourously wrestles with the interface of divine power and human freedom. In a highly entertaining fashion, this film appeals to popular culture by depicting aspects of truth, beauty and goodness (Johnston, 2006). The film portrays Bruce (Jim Carrey) as a man consumed by self-importance and insensitivity, especially to God. This flawed protagonist has the ability to make viewers repulsed, especially by his attitude to his (cleverly named), estranged girlfriend, Grace (Jennifer Aniston). Bruce is a television news reporter who wants to be a local news anchor and blames God for not producing this miracle. In the film he takes on the role of God, acting out humanity’s most ancient desire; to be God (Leonard, 2006).

Unlike many other religious films that have merely depicted God as a shining white light, or simply a voice, God in Bruce Almighty is portrayed in human form, visually depicted as an African-American, played by Morgan Freeman. Yet looking past this non-traditional visual representation, Bruce Almighty suggests that God operated on two fundamental principles: “You can’t mess with free will” and “you can’t do everything” (Leonard, 2006). Christian theology teaches that God is all-powerful, all-knowing, and all-loving (Leonard, 2006). Bruce Almighty gives this a contemporary spin. Rather than positing God deficient in power, it suggests God has a self-imposed limit on the exercise of power (Leonard, 2006). The film raises interesting images and issues, attempting to ask the most basic religious questions in a modern context, with humour. But what the movie really is about is God’s argument that, “The problem is that people keep looking up, when they should look inside…you want to see a miracle – then be a miracle” (Johnston, 2006).

If religious ideas or experience can be put into an irreverent or interesting package, so much the better. This is the appeal of Kevin Smith’s edgy but God-affirming movie, Dogma (Johnston, 2006). Met with much criticism, this movie affirms the existence of God and tells the story of a woman’s recovery of faith, while at the same time mocking organised Christianity and questioning theology (Johnston, 2006). This movie steers away from everything deemed traditional about religious films, presenting images of a 13th apostle and a statue of the “Buddy Christ”, winking and giving the thumbs up (Johnston, 2006). While the movie was regarded as somewhat of a joke, it does affirm the importance of faith, the benevolence of God and the divinity of Christ (Johnston, 2006), in a way that keeps viewers in their seats and entertained.


Described as a “zany, daffy, sometimes crude and tasteless, over-the-top movie” (Greeley, 1999, p. 22), Dogma portrayed God as a woman; a woman who also performed cartwheels. Technically speaking, since divine-figures need only resemble or resonate with the behavioural characteristics and life events of the historical divine, female divine-figures can just as easily fit this functional definition (Kozlovic, 2005). While many critics described Dogma and this representation of God as a woman, as blasphemous, what they failed to remember was that blasphemy involves the intention to do harm to God, religion, faith or the church (Greeley, 1999). Dogma did not intend to do this, but merely represented God as a comedian, who in the end is seen as loving and gracious. This humour is in fact a prelude to making some very serious, and funny, theological points.

While these films are highly entertaining and clear in their messages, we still must question whether they are truly religious or if they simply represent elements of Hajarvard’s (2008) notion of banal religion. Products which are tailored for consumption by masses, and which to a great extent determine the nature of that consumption, are manufactured more or less according to plan (Adorno and Rabinbach, 1975). The masses are not primary, but secondary, and are always an object of calculation and of the culture industry (Adorno and Rabinbach, 1975). The practices of the culture industry rest almost solely on profit, and through the distribution of discourse and ideology to the masses, a profit is almost always made. Cultural commodities are formed because of their value (Adorno and Rabinbach, 1975) and this statement rings true of the film industry. According to Walsh (2003) cinematic images of the divine perpetuate an ideology of triumphant individualism, and Kozlovic (2005) further argues that these images are a legitimate pop-culture phenomenon. More than just media inundation, we have come to live in a “media-mediated” culture, where our understanding of life, reality and our own experience is filtered through film (Kozlovic, 2005). In fact, many people within today’s society, especially the young, believe that popular culture is culture, and so theology must begin to take such cultural expressions seriously (Kozlovic, 2005).

Films that reach out and break down barriers (like Dogma and Bruce Almighty) tend to elicit positive responses, while also allowing viewers to recognise the significance of religion in today’s society and culture. Religious films that fall into the comedy genre effectively portray stories that can be related to by non-believers and those uninterested in religion. These films make religion more accessible to people who normally regard religion as irrelevant, by framing stories of the divine and religious elements in a way that is entertaining and relatable.

Popular cinema has moved forward in its cultural interpretations of the divine, by making them appealing to a wider ranging audience. The movie industry has recognised the secularization of society and has transformed religious values, practices and beliefs into visually pleasing and often humourous films that society has come to rely on for interpreting reality. There is no single person, entity, organisation, institution or power in our society today that even comes close to rivaling the power of film and television to shape our faith, values and behavior (Stone, 2000).

The media, as Hjarvard (2008) suggests, have taken on the role of religious institutions in shaping our religious imaginations, particularly through the use of religious films, and by doing this have provided both moral and spiritual guidance and a sense of community. However, the banal religious elements that these films tend to portray, move into the fore of society’s imagination and have resulted in a society in which individuals can no longer tell the difference between fiction and reality. However, putting the banality of the religion in films aside, the cinema remains an important tool to illicit interest in the religious world and to encourage the youth of today to recognise its importance in today’s society.


References

Adorno, T. W. and Rabinback, A. G. (1975). Culture Industry Reconsidered. New German Critique, 6, 12-19

Aichele, G & Walsh, R. (2002). Screening Scripture: Intertextual Connections Between Scripture and Film. Harrisburg, Pennsylvania: Trinity Press International.

Bakker. F. L. (2009). The Challenge of the Silver Screen: An Analysis of the Cinematic Portraits of Jesus, Rama, Buddha and Muhammad. Boston: Leidon.

Bergesen, A. J. and Greeley, A. M. (2000). God in the Movies. New Brunswick, N.J: Transaction Publishers.
Exum, J. C. (2006). The Bible in Film – The Bible and Film. Leidon, Boston: Brill.
Greeley, A. M. (1999). The Catholic Imagination of ‘Dogma’. National Catholic Reporter, 36(8), 22.

Hession, Brian, the Rev. (1947. Religion in films versus religious films. Sight and Sound, 16(62), p. 53.

Hjarvard, S. (2008) The Mediatization of Religion: A Theory of the Media as Agents of Religious Change. Northern Lights, 6(1), 9-26.

Johnston, R. K. (2006). Reel Spirituality: Theology and Film in Dialogue. Second Edition – revised and expanded. Grand Rapids, Michigan: Baker Academic.

Kozlovic, A. K. (2005). Jesus covered in a secular wrapper: The Christ-figure in popular films. Kinema: A Journal of History, Theory and Aesthetics of Film and Audiovisual Media, 24, 33-54.

Reinhartz, A. (2007). Jesus of Hollywood. New York: Oxford University Press

Leonard, S. J. (2006). Movies That Matter: Reading Film Through the Lens of Faith. Chicago, Illinois: Loyola Press.

Mahan, J. H. (2002). Celluloid Saviour: Jesus in the Movies. Journal of Religion and Film, 6(1)

Mitchell, J. & Plate, S. B. (2007). The Religion and Film Reader. New York: Routledge, Taylor and Francis Group.

Stone, B. P. (2000). Faith and Film: Theological themes at the cinema. St Louis, MO: Chalice Press.

Walsh, R. (2003). Reading the Gospels in the Dark: Portrayals of Jesus in Film. Harrisburg, PA and London: Trinity Press International.


Bibliography

Kozlovic, A. K. (2008). Cecil B. DeMille: Hollywood Macho Man and the Theme of Masculinity within His Biblical (and Other) Cinema. Journal of Men, Masculinities and Spirituality, 2(2), 116-138.

Forshey, G. (1988). Jesus on Film. The Christian Century, 105(26), 801.

Gilmour, P. (2005). Text and Context: The Passion of the Christ and other Jesus Films. Religious Education, 100(3), 311.

Greeley, A. M. (1997). Images of God in the Movies. The Journal of Religion and Film, 1(1).

Mel Gibson’s Lethal Passion. (2006). In Beal, T. K. and Linafelt, T. (Eds.) Mel Gibson’s Bible. Chicago: University of Chicago Press.

Stout, D. A. and Buddenbaum, J. M.(2003). Media, Religion, and "Framing". Journal of Media and Religion, 2(1), 1 - 3


Films Cited

Bostick, M., Brubaker, J. D., Koren, S., Carrey, J., O’Keefe, M., Shadyac, T., & Shadyac, T. (Director). (2003). Bruce Almighty. United States: Universal Pictures,

Mosier, S. & Smith K. (1999). Dogma. United States: Miramax Films

Jesus Rocks

RELN2011 - Final Assignment
By Sarah Fallon

Jesus is both a popular and controversial topic in Hollywood Films. The following Essay will discuss three Jesus centred films and how they represent the individual filmmaker’s view, the times in which they were made, the controversy surround them, and their varying depiction of Jesus himself. Mel Gibson’s The Passion of the Christ (2004) is the most recent film discussed here and will be looked at first, followed by The Last Temptation of Christ (Scorsese 1988) and finally the 1973 film adaptation of Jesus Christ Superstar (Norman Jewison). Each of these films explores the life of Jesus Christ in different ways and was responded to differently.

The Passion of the Christ is a unique depiction of Jesus’ life and is representative of Mel Gibson’s own theological perspective. Mel Gibson is a Pre-Vatican II Catholic and rejects scholarly work on Jesus and his life (Schaberg 70). As such he has a strong opinion on Christ’s story and passion, which can clearly be seen in The Passion of the Christ. Gibson’s film had a lot of Christian support, but was however accused of anti-Semitism, misogyny and homophobia (Pope 68 & 87). The devil in Passion is played by a women and purposefully androgynous, Mary Magdalene is marginalised due to his Pre-Vatican II persuasions (Schaberg 70) leaving only a virginal mother as an acceptable female presence. The marginalization and demonization of any female image which isn’t ‘pure’ or belonging to a traditional female role could be the reason for the misogyny claim. Anti-Semitism, however, is a much larger criticism of the film, Goodacre says “Few can have seen this film without having been aware of this charge.” (39). With multiple Gospel accounts to choose from, Gibson has included the three main anti-Semitic features of the New Testament. Pilate is portrayed as a reasonable and compassionate man, making the Priests look even more irrational a cruel by comparison, and the scene in which he washes his hands and leaves Jesus fate up to the Jewish people is included. Caiaphas, the head priest, is brutal in his determination to destroy Jesus, as well as being shown to hit Jesus. And the Jewish Crowd repeatedly calls for Jesus’ crucifixion and cheering at his torture. Pope says The Passion “claimed authenticity,” (86), a particular difficulty in films based on Jesus, because of its religious context and multiple and varying sources on which to draw. The Passion does well in its attempt; appropriate looking costumes, the use Aramaic a now unused language as the primary language of the film, and the gritty violence all feel authentic. However “almost all Jesus-figure’s are, in fact, stylized.” and “A movie may be a product of the artistic sensibility of a writer or director, of a deep personal religion and conviction, and of a faith” (Malone 60 & 70-1). Therefore The Passion of the Christ is only authentic to Gibson’s personal vision.

Mel Gibson’s The Passion of the Christ depicts the last twelve hours of Jesus’ life within a primarily theological framework. The opening quote in The Passion, “He was wounded for our transgressions, crushed for our inequities; by His wounds we are healed.” from Isaiah 53.5, sets up the main focus of the film; violence and suffering, and the amount of which “would be sufficient to atone for the sin of humanity.” (Pope 86). As is typical of representations of Jesus, Gibson’s Jesus has long brown hair, is bearded and robed often in white, but also in brown. Jesus’ simple, modest dress in muted colours, which is also how his followers dress, is contrasted with the elaborate and ornate costuming of the priests, presenting them as opposites, and enhancing claims of anti-Semitism. He speaks very little, resolute and courageous. His lack of speech also mystifies his character by preventing the audience from connecting with him on a basic communicative level. This is further accomplished by the use Aramaic as the primary language spoken in the film, even when he does speak it is in a language not easily recognisable by a general audience. Gibson’s Jesus is a traditional depiction of the Christ figure which continually reinforces Christ’s goodness and divinity.

Jesus’ divinity is established from the first scene. He is positioned in Gethsemane, an important biblical site, which in the film is visually very mystical. The scene begins with Jesus praying to God in his only moment of doubt in the film, and simultaneously being tempted by the Devil. He overcomes the Devils temptation, stepping on a serpent and never again showing a moment’s hesitation. He seems to have a strength no later Jesus’ discussed in this essay manages to obtain. Later in the same location Jesus performs the films only miracle, healing a Roman guard’s ear. Jesus’ divinity carries throughout the rest of the film particularly in the inhuman strength necessary to survive the extreme physical torture he is subjected to throughout the film until the moment of his death. The only real glimpse of humanity seen in Gibson’s Jesus is through the eyes of his mother, Mary. It is with Mary that our empathy really lays, rather than the stoic, almost emotionless Jesus. She provides the audience with a human framework with which to relate and view his suffering. She also provides us with the only flashback which presents him as a person rather than a saviour; one in which he builds a table and talk as a son to his mother, and another when he falls as a child and Mary runs to him. Gibson’s Jesus is the most divine of the three discussed in this essay, with no real attempt to explore his human side.

In 1988 Martin Scorsese adapted Nikos Kazantzakis’ novel, The Last Temptation of Christ, to film. The film, like the book, courted much controversy, largely due to the final dream sequence which features Jesus living a normal life including marriage, sex, children and eventual death at a ripe old age. Another point of the movie which caused much discussion was the portrayal of Judas not as a betrayer, but carrying out God and Jesus’ wishes, to help bring about Jesus death. Furthermore Judas’ role in the dream sequence was not well liked amongst Christians, as it is he who once again forces Jesus to face his destiny and abandon his illusionary dream of a normal life. Conservative Christian groups were outraged by this film, even attacking Universal studios and Martin Scorsese (Riley 3). Last Temptation avoids the threat of appearing Anti-Semitic by completely eliminating Caiaphas and the Jewish crowd demanding Jesus’ death from the film. Last Temptation also avoids the issue of historical accuracy by basing the film on a novel rather than the Gospels. At the beginning of the film there is a disclaimer saying that the film is not based on the Gospels. In theory this allows the filmmaker to avoid any responsibility towards Christianity; however this did not prevent controversy or outrage. Pope says “It is inevitable that the film would be judged (at least by Christian groups) according to certain theological and devotional expectations.” as it draws on religious imagery and accounts and still attempt to tell a story of the life of Jesus (83). And Christian groups definitely didn’t approve, labelling the film as blasphemes (Riley 3). Unlike the other two films explored in this essay, Last Temptation portrays in great detail Jesus’ miracles including healing of the sick and raising Lazarus from the dead. Forshey suggests that one of the problems in creating a film about Jesus is the representation of the miracles, “They must somehow be portrayed plausibly and not appear to be optical illusions or cinematic tricks.” (np). Ultimately it is up to the individual viewer as to whether they find the portrayal believable or not. I personally found them overly dramatic and the scene in which he raises Lazarus from the dead reminiscent of a horror film rather than miraculous. Last Temptation is by far the most ill received and controversial film explored in this essay.

The Last Temptation of Christ is unique from other films based on the life and times of Jesus Christ because it does not claim any factual, historical or religious accuracy. Like Passion of the Christ, Last Temptation opens the film with a quote, this time from Kazantzakis’ novel, “The dual substance of Christ – the yearning, so human, so super human, of man to attain God.” The quote goes on, but just like The Passion of the Christ it provides the basis for the entire film; the struggle between humanity and divinity in Jesus. Again Jesus has brown hair and is robed, but in Last Temptation his appearance develops through the narrative. As he begins to accept is role as messenger of God, then Son of God and finally the necessity of his death, his hair grows longer, his robe becomes lighter and his beard grows until he is the complete visual stereotype of Jesus Christ. However his spiritual transformation seems as superficial as his physical one. His “manic journey through the last few years” of his life appears disjointed as he moves rapidly from hating and resenting God, to accepting the mission of love, then changing to the mission of the axe, realising he needs to die, then falling for the final temptation and abandoning his mission of the last few years until Judas yells at him. He is a Jesus without any conviction, described by Paffenroth as “neurotic and disassociated.” (np). Pope goes so far as to say “Rather than throw light on the battle which raged in Jesus... here [ he] is typical of Scorsese’s characters... a Jesus in Scorsese’s image... little more than a stage burlesque of the Jesus of the Gospel.” (85). Last Temptation was unsuccessful with both the Christian audience and a wide range of critics, failing to appear relevant within or without of a theological framework.

Jesus’ voice is explored and developed in this film above others because he is the narrator. The film uses “the cinematic technique of voice-over to explore Jesus’ tortured but developing messianic consciousness.” (The Problem of the Cinematic Jesus np). The narration gives an insight into Jesus’ struggle not seen before, and definitely not represented in the Gospels. While this is the only film discussed here which features an extended look at Jesus’ miracles, including the raising of Lazarus from the dead, He is still less divine than Gibson’s Christ. His continual temptation is so great that his overly dramatised miracles are not enough to overcome them. Sexual tension is present throughout the film, from the early scene in which Jesus watches Mary Magdalene service other men, through to the final temptation scene when he indulges in sexual activity (Pope 84). When he does finally commit to his crucifixion, after a long sequence in which he is allowed, even if only superficially, to indulge in all of his temptations, it lacks meaning. At the beginning of the film he actually made and carried crosses for the Romans making his death ironic and seems more an act of redemption for his own sins than the masses. As a result “it is not entirely clear what it is his death achieves (Pope 84). Last Temptation tells a confused story of Jesus’ life. The portrayal of his internal and eternal struggle clashes with the known biblical story.

In 1973 Norman Jewison adapted the Andrew Lloyd Weber musical, Jesus Christ Superstar, to the big screen. Jewison presents Jesus and his story in a stylised way using it to grapple with the various struggles of the 1970’s. Unlike the previous two films, Jewison does not strive for realism, for one it is a musical, but Jewison goes even further by merging contemporary and historical imagery in sets, costumes and dance scenes. Even more central to the cultural context of the film is the casting of an African-America as Judas. Paffenroth suggests that this portrayal of Judas will subvert expectations, as Judas is traditionally and well-known as the betrayer and villain of the story, however in this particular film he is “the most appealing and powerful character” (np). The use of a black Judas allows the film to interact with race and civil rights issues of the 1970’s. Reinhartz says “Jesus Christ Superstar tackles race and civil rights issues through its African American Judas.” He also suggests that the film “also deals, more indirectly, with the war in Vietnam and the Six Day War in Israel.” (np). This is a clear indicator of Pope’s idea that “Jesus must speak into, as well as out of, the contemporary situation and not just as a disembodied voice speaking from a distant and sometimes dim past.” (71). Jewison use a well known biblical story as well as an extremely popular musical to raise issues pertinent to the times and people of the 70’s.

Jesus Christ Superstar depicts the last few weeks of Jesus’ life. Like the two previous Jesus’ discussed, Jewison’s Jesus is robed, bearded with long brown hair, and like Gibson’s Jesus had brown eyes, maintaining traditional imagery. Jesus is one of the few characters in this film dressed in historically accurate clothing. Others, while having hints of the historical period, are distinctly stylized. Similarly again to the other two films Jesus and his Apostles are mostly dressed in browns and other muted tones, with a few exceptions. Mary Magdalene and Judas are dressed in bright red and orange, marking their significance. Paffenroth writes, “the other disciples practically disappear... It is Mary Magdalene and Judas that rise to prominence.” (np). Mary Magdalene is the only female character, Mary the mother being completely absent from the film. One of the most beautiful songs of the film is Mary’s “I Don’t Know How To Love Him”, which suggests a romantic interest, at least on her side. While the film does not go as far as Last Temptation in explicitly portraying Jesus as a sexual figure, it does frame him in a romantic context which implies the possibility of his involvement in romantic and, by extension, physical love. Jewison’s Jesus is not as stalwart or determined as Gibson’s neither is he like Scorsese’s Jesus. He is perhaps the least divine of the three, unable to accept his necessary death. Reinhartz describes him as a “weak and whiny man without a clear sense of identity.” (np). Such character traits are seen throughout the film, such as in The Last Supper, “I must be mad thinking I’ll be remembered... Look at your blank faces! My name will mean nothing / Ten minutes after I’m dead!” he sings furiously. And where Gibson’s Jesus calmly tells Peter of his inevitable denial, this Jesus is outraged. Even at the very end, when crucified, he is still doubtful and angry. All of this lessens his divinity. Pope believes Jesus Christ Superstar to mark “the demise of both the reverent portrayals and the epic style,” of Jesus Christ (68). This Jesus is continually complaining, and while his uncertainty makes him more relatable he is much less of a divine figure.

Jesus Christ is a difficult topic to portray and most likely impossible to do so without some level of criticism or controversy. The Passion of the Christ was well received by Christian audiences despite its ignorance of post-Vatican II doctrine. However it did court controversy from secular viewers for anti-Semitism and misogyny. Gibson’s Christ was brave, heroic and utterly divine, allowing only for a moment’s hesitation at the very beginning of the film. The Last Temptation of Christ, hardly a story of Jesus, received the most criticism from Christians and critics alike. Humanizing Christ to the point of sexual desire and activity and elevating Judas to the hero of the piece was a daring attempt at a unique vision of Jesus’ life but was ultimately unsuccessful and Scorsese’s Jesus confusion left his actions meaningless. Jewison’s Jesus Christ Superstar was the most relevant to the cultural context of its time. Jewison’s Jesus is easily relatable as the film does not strive for divinity rather explores and natural human doubt and uncertainty. He is less annoying than Scorsese’s Christ and as such his death is more meaningful, but perhaps more tragic than heroic as it excludes the resurrection scene which give The Passion of the Christ it’s uplifting conclusion.




WORKS CONSULTED

Aichele, Georg and Richard Walsh. Screening Scripture: Intertextual connections Between Scripture and Film. USA: Trinity Press International, 2002. Print.

Forshey, Gerald. Jesus on Film. The Christian Century, September 1998. Web. http://www.religion-online.org/showarticle.asp?title=172 .

Gallagher, Michael. “Theological Discernment and Cinema.” New Image of Religious Film. Ed. John R. May. Wisconsin: Sheed & Ward, 1997. Print.

Goodacre, Mark. “The Power of The Passion: Reacting and Over-reacting to Gibson’s Artistic Vision.” Jesus and Mel Gibson’s The Passion of the Christ: The Film, The Gospels and the Claims of History. Ed. Kathleen E. Corley. London: Continuum , 2004. Print.

Hahn, Johan. “A Methodology for Finding the Filmmaker’s Weltanshauung in Religious Films.” New Image of Religious Film. Ed. John R. May. Wisconsin: Sheed & Ward, 1997. Print.

Malone, Peter. “Jesus on Our Screens.” New Image of Religious Film. Ed. John R. May. Wisconsin: Sheed & Ward, 1997. Print.

Miller, Vincent. “Contexts: Theology, Devotion, and Culture.” Mel Gibson’s Bible: Religion, popular culture, and The Passion of the Christ. Ed. Timothy Kandler Beal & Tod Linafelt. Chicago: The University of Chicago, 2006. Print.

Paffenroth, Kim. Journal of Religion and Film: Film Depictions of Judas. Villanova University, 2 Oct 2001. Web. https://www.unomaha.edu/jrf/judas.htm.

Pope, Robert. Salvation in Celluloid: Theology, Imagination and Film. New York: T&T Clark, 2007. Print.

Reinhartz, Adele. Journal of Religion and Film: Passion-ate Moments in the Jesus Film Genre. Wilfrid Laurier University, February 2004. Web. http://www.unomaha.edu/jrf/2004Symposium/Rheinhart.htm .

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Schaber, Jane. “Gibson’s Mary Magdalene.” Mel Gibson’s Bible: Religion, popular culture, and The Passion of the Christ. Ed. Timothy Kandler Beal & Tod Linafelt. Chicago: The University of Chicago, 2006. Print.

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