The Passion of Christ: Gibson's Movie: A 2nd Look

[RonPrice]

The dust of reviews has settled on this film and so: the time has come, perhaps, for a more dispassionate, a more considered, a more reflective, little review. Perhaps review is not quite the right word; perhaps what I have written here is just a comment, but it is no less provocative than the most provocative youve read thusfar and I hope you will find here some refreshing and intelligent insight into the way the film was made and perceived.
This film is not intended to be a masterful historical documentary as, say, Ken Burns' work on the Civil War or one of many others done in the first century of the existence of the cinema. Gibson's work is far from possessing what some might call an intellectual poverty in its pretensions at historical documentary. Shawn Rosenheim says all TV documentaries possess an intellectual poverty. If Rosenheim is right the visual media are simply incapable of producing historical documentary.1 And if Rosenheim is wrong, as I tend to think he is, historical documentary of an event 2000 years ago is not impossible. It is, rather, a recreation. We simply do not know enough about the event Gibson is recreating to claim that what we are seeing is a documentary.

We all know that Gibson did not take his camera crew to downtown Jerusalem or into the little hamlet of Nazereth in some kind of time-warp to produce an anti-Jewish, anti Roman clip for the evening news. Even if he had and he then produced for us all an evening two hour special, spectacle, called "the crucifixion," there would still be questions about visual manipulation and the program's service in the name of directing popular thought toward a new religious movement. New religious movements have always had trouble getting popular exposure unless they can be associated with conflict and violence, eccentricity and the bizarre, indeed, anything visually stimulating and distracting.

No one would claim that Gibson's is a neutral recording of objective events. It is a construct operating from a certain point of view. It is a rhetorical argument achieved through the selection and combination of elements that both reflect and project a world, a world view, a cosmology if you like. It is achieved by certain cinematic conventions that try to erase any signs of cinematic artificiality. An ideology is promoted by linking the effect of reality to social values and institutions in such a way that these values seem natural and self-evident. In the case of Mel Gibson's work, a work that I found quite stimulating in its own way, the ideology is simply and strongly: fundamentalist Christianity.

History has a thousand faces, a thousand forms, and Mel Gibson has given us some very stimulating ones, perhaps a little too visually acute, in his film, The Passion of the Christ. They will serve for some of the millions who watched it to bring them closer to One whom Baha'u'llah, the Baha'i Faith's founder, said "when Christ was crucified the world wept with a great weaping." Bill Graham wept; many stayed home; millions viewed the film as it went into the top ten money spinners in cinema history two weeks ago. Some were appauled; some stimulated. To each his own.-Ron Price, George Town, Tasmania

[DemyaKahina]

Originally Posted by RonPrice

The dust of reviews has settled on this film and so: the time has come, perhaps, for a more dispassionate, a more considered, a more reflective, little review. Perhaps review is not quite the right word; perhaps what I have written here is just a comment, but it is no less provocative than the most provocative youve read thusfar and I hope you will find here some refreshing and intelligent insight into the way the film was made and perceived.
This film is not intended to be a masterful historical documentary as, say, Ken Burns' work on the Civil War or one of many others done in the first century of the existence of the cinema. Gibson's work is far from possessing what some might call an intellectual poverty in its pretensions at historical documentary. Shawn Rosenheim says all TV documentaries possess an intellectual poverty. If Rosenheim is right the visual media are simply incapable of producing historical documentary.1 And if Rosenheim is wrong, as I tend to think he is, historical documentary of an event 2000 years ago is not impossible. It is, rather, a recreation. We simply do not know enough about the event Gibson is recreating to claim that what we are seeing is a documentary.

We all know that Gibson did not take his camera crew to downtown Jerusalem or into the little hamlet of Nazereth in some kind of time-warp to produce an anti-Jewish, anti Roman clip for the evening news. Even if he had and he then produced for us all an evening two hour special, spectacle, called "the crucifixion," there would still be questions about visual manipulation and the program's service in the name of directing popular thought toward a new religious movement. New religious movements have always had trouble getting popular exposure unless they can be associated with conflict and violence, eccentricity and the bizarre, indeed, anything visually stimulating and distracting.

No one would claim that Gibson's is a neutral recording of objective events. It is a construct operating from a certain point of view. It is a rhetorical argument achieved through the selection and combination of elements that both reflect and project a world, a world view, a cosmology if you like. It is achieved by certain cinematic conventions that try to erase any signs of cinematic artificiality. An ideology is promoted by linking the effect of reality to social values and institutions in such a way that these values seem natural and self-evident. In the case of Mel Gibson's work, a work that I found quite stimulating in its own way, the ideology is simply and strongly: fundamentalist Christianity.

History has a thousand faces, a thousand forms, and Mel Gibson has given us some very stimulating ones, perhaps a little too visually acute, in his film, The Passion of the Christ. They will serve for some of the millions who watched it to bring them closer to One whom Baha'u'llah, the Baha'i Faith's founder, said "when Christ was crucified the world wept with a great weaping." Bill Graham wept; many stayed home; millions viewed the film as it went into the top ten money spinners in cinema history two weeks ago. Some were appauled; some stimulated. To each his own.-Ron Price, George Town, Tasmania

I’ve watched the movie when it just came out even though I wasn’t and still not particularly interested in the subject but I’m just in the habit of being curious to see a movie that steers this much opposition and critics from any group. I don’t have any thoughts about the movie making itself except that being a Moroccan who speaks Arabic and understands Hebrew, I realized that my Aramaic is not bad at all. In terms of the movie’s objective, I’m not really sure that Gibson’s intentions were totally innocent. Everybody knows the story and Gibson knows that the Jews stoned Jesus so what was the point of the movie? More religious-related hatred is NOT what the world needs right now.

[RonPrice]

I can't help but agree with some of the central sentiments of Demyakahina in his response to my post. The loss of faith in the great world views, religious and non-religious, on which the social systems of our world are founded is not confined to one part of our western world; the process is universal. Whether those systems of thought are pseudo-scientific like Marxism, or purely pragmatic like capitalism, or humanistic like Liberal Democracy, or quite pathological like Nazism and Fascism, they have one and all lost their hold on the minds of those who once worshipped at their altars.

In a famous passage of his writings, the Irish poet W.B. Yeats described our age as one in which "the best lack all conviction, while the worst are filled with passionate intensity". Questions that touch the human heart most deeply, that cry out for reflection and a spirit of consultation, are transformed by battling groups of extremists into rigid formulae and cookie-cutter tests of human decency. In such a world, the majority of society's members withdraw into helplessness and increasingly desperate silence. -Ron Price, Tasmania