Son of God review - Jesus Movies 2014 Edition

Read my prior roundup of Jesus movies here. 

This year's new life of Christ film is derived from Roma Downey and Mark Burnett's television miniseries The Bible. I hadn't seen the series, so I was curious to check out the feature-length version. There hasn't been a full-fledged Gospel theatrical release since The Passion of the Christ a decade ago. Does Son of God further advance the genre?

Pros: The story is narrated by aging St. John in exile on Patmos. His gospel's "In the beginning was the Word..." intro leads us through an Old Testament montage before diving straight into Jesus' public ministry. This is a great contextual and theological set-up.

Cons: Sadly, the initial Incarnation focus gets lost as the narrative tries to be as generic and uncontroversial as possible. Other reviews have aptly compared it to a greatest hits montage played by a cover band. It's really an amalgamation of History Channel footage, and it shows.

Notable performances: As usual, the villains are often the most interesting. Judas is a straightforward creep who becomes Caiaphas' flunky. The high priest is in turn pushed around by Pilate, whose retribution he fears. Pilate is a stone-cold meany spilling Israelite blood in between massages and reclining dinners, but deep down he's worried about his own career too. In the Sanhedrin's negotiations with Pilate about Jesus' execution, he seems to view them with the exasperation one reserves for that particularly annoying co-worker. "Why are you bothering me about this guy when he's your problem? Oh, and now you're gonna nitpick how I wrote that sign?"

There's a token pharisee who initially gets annoyed when people ditch him for Jesus, and then somehow manages to be in the peanut gallery of every scene. His escalating outrage and jealousy are pretty fun. After each miracle I expected him to blurt out a Gob Bluth "Oh, COME ON!" Speaking of obnoxious people, Thomas is among the most vocal of the Apostles, whining with doubt about everything. At one point Peter just has to tell him to shut his trap and act in faith already.

Favorite scenes: Most of the scenes are pretty paint-by-numbers, but sometimes there are creative insights. For example, the woman caught in adultery has a small child who's upset by her mother's possible stoning. This perfectly emphasizes the human dignity Jesus is defending, and shows how the woman's  sinful life was still important to others. There are some interesting Eucharistic references, like Judas gagging on unleavened bread as he flees the Last Supper or Peter rushing to say Mass as soon as he realizes Jesus is alive and they better remember him like he asked.  Possibly my favorite parts were the innovative scenes during Christ's agony in Gethsemane. The camera cuts from his anguished prayers to the Sanhedrin reciting Psalms to Pilate and his wife burning incense to their ancestors, all praying with different motivations.

What The Frankincense: Complaining that the holes in Jesus' hands didn't look "real" enough sounds really pedantic, so I'll just mention this - Cee Lo Green does the closing credits song. Which is the theologically suspect "Mary Did You Know." Umm ok? I'll take Cee Lo's tunes however I can get them.

Jesus rating: 1 out of 5. This Jesus is not only bland, he's annoying. His perfect beachy waves of hair and knowing closed-mouth smile reminded me of another resurrected TV character - Alison, the leading Mean Girl and possibly dead frenemy on Pretty Little Liars.

I mean, look at this.  

Despite the smug grins, this Jesus is surprisingly ignorant. He gets telepathic flash-forward knowledge of future events at the last minute. For instance, only after embracing Peter at his promise of loyalty does Jesus get a precog vision of denial and roosters crowing.

Even worse, this Jesus spouts trite inspirational slogans. It's like the screenwriters had to abridge the already straightforward dialogue of the Gospels. In his first scene, Christ recruits Peter not with the clever "fisher of men" line, but by saying they will "change the world." It's the worst during the Passion scenes. Instead of prophecies and the epic Last Supper soliloquy of John's gospel, Jesus speaks in glib phrases that belong on a cat poster.  John bursts into tears at predictions of Jesus death; the Master tells him to "Trust in God." When Mary meets her Son carrying the cross, he says "All things are possible with God!"

Mary was probably thinking "What things exactly? How about you not dying, is that possible? Or is this a really bad hint at the resurrection?" The Passion of the Christ did it better. Jim Caviezel's Jesus tells Mary, "See mother, I make all things new," actually explaining the purpose of his suffering. Despite his title, Son of God  doesn't offer any real answers to life's big questions of suffering, sin, and redemption. 

Cinematic value: This brings me to my final point - this movie's greatest value was how it made me better appreciate its predecessors. Son of God's knock-off imitations show the endurance of Passion of the Christ's artistic legacy. Whether it inspired you or grossed you out, PoTC did offer some innovative visuals. Son of God's Passion sequence pulls out the same set pieces but doesn't execute them as well. There's the slow-mo dramatic music for the Sanhedrin so you know they are baaaaaad guuuuuuuuuys. There's Mary watching the scourging from afar and Jesus kissing the cross before he lifts it. There's the copious blood that makes gravel stick to Jesus' unrecognizable face. Unfortunately, instead of Jim Caviezel's poignant facial expressions we just get close-ups of the bloody drool streaming from Diogo Morgado's' lower lip.

Extreme close-ups and other distracting camera tricks are really the film's undoing. Only the most hipster bar in Williamsburg is this focused on beards. By the end  I was well-acquainted with every character's facial hair follicles as well as the state of their pores. The constant zooming may have been to compensate for lackluster sets, or to lend gravitas. When scenes finally do pan out, there are indiscriminate lens flares and amateurish GCI of Jerusalem. Again, there is another film predecessor that did this better: Jesus of Nazareth. Franco Zefferelli's Jesus flick was also a made-for-TV miniseries, but that didn't stop him from shooting sweeping landscapes, dramatically lit sets, and an impressive temple courtyard.

Bottom Line: While it would be fine to show in a classroom or as a TV Easter special, this is not a Jesus movie I would go out of my way to purchase and rewatch. There's been some critical discussion of whether it's disingenuous to charge audiences big screen prices to see a previously aired television program plus deleted scenes. Downey and Burnett have responded that it's an evangelization effort; they want to get the message of Jesus out to as many people as they can. Unfortunately, their Jesus is too much of a bland nice guy to inspire lifelong devotion. 

Girl-Power Bible Movies

This Lent I've had less time for my traditional Jesus film festival, but I have managed to catch a few Biblical epics. Somehow they've all been about Old Testament  heroines. I realized this is completely appropriate considering how prominently women feature in the Good Friday and Easter Gospel accounts.

Giorgio Vasari,
Judith and Holofernes, c.1554.
St. Louis Art Museum.
Those are the ripped shoulders of
a woman saving her people. 

Women are everywhere in the story of Holy Week. For some reason most are named Mary, and they're always present. They have a lot of feelings - there's a lot of crying - but they also get. stuff. done. When they make big displays of foot-anointing emotion, Christ is appreciative, not dismissive.Whether wiping Jesus' pained face, anointing His body, or learning about the Resurrection while the guys cower in fear, these women serve God in powerful ways. Salvation history would not be the same without them.

The ladies of the Old Testament are the same way. It's a shame there aren't more movies about them, because their stories are laden with peril, drama, romance, and even comedic timing. That's Hollywood gold, people! I get why there are no R-rated films where Judith and Jael slaughtering enemy generals, but there's a lot of untapped cinematic potential.

At a church gathering last weekend, I was astonished how many people were unfamiliar with the story of Esther, another brave woman who rescued her people from destruction. So here are recaps of four movies that do exist about Ruth and Esther. Their books of the Bible involve women in unconventional families navigating assimilation, inter-cultural marriages, legal loopholes, family loyalty, deep devotion, and life-and-death situations.

Alexandre Cabanel,
Ruth glanant dans les champs de Booz, (1886),
Musée Garinet, Chalon-En -Champagne.

Ruth dates back to the time of the Judges - she's King David's great-grandmother! She's also the first convert in the Bible. Born in Moab, she marries into an Israelite immigrant family. After famine kills all the men in the family, Ruth sticks by her mother-in-law Naomi, proclaiming "Your people will be my people, and your God will be my God." What are two widows to do? Head back to Bethlehem, where Ruth finds love with grain farmer Boaz. Another distant relative attempts to claim Naomi and Ruth's estate, but God's providence wins out in the end.

The Story of Ruth (1960)

Creative License:

This film imitates the epic visual style of The Ten Commandments, and gets very creative with Ruth's backstory. Young Ruth is content living in the temple of Moab's Aztec-like child-sacrificing god, until she engages in some playful theological banter with Malon, a Jewish silversmith. He awakens her heart to God's law, but Moab's rulers are obviously not pleased by her new skepticism of their religion. After the authorities kill the men of Malon's family, Ruth and Naomi set out for Bethlehem. There, they find the kindness of Boaz but also a rival suitor and some neighbors who aren't crazy about the new pagan priestess next door.

Dramatic Themes: 
The Israelites in Moab have assimilated well, perhaps too well. Naomi's son Chilion boasts of how well he and his Moabite wife Orpah are accepted in society. Unfortunately, human sacrifice is accepted in that society. When Malon objects, his family literally says, "C'mon, you know the Moabites are sensitive about their human sacrifice."
The law and its demands are key. Malon gives Ruth a pendant of the 10 Commandments, but later the people of Bethlehem put her on trial for her pagan history. 

Huh? moments: 
Ruth spends her vestal virgin childhood in what is basically a glam convent. Seriously. She and the other girls wear matching outfits borrowed from Katy Perry. Women in long black veils oversee them and teach them to memorize prayers. Is this some anti-Catholic bias? Also, their god looks like a character from the Far Side.
Boaz is sadly less handsome than the ill-fated Malon. His tunics with thigh-high slits don't help matters.

The King of Moab inspects the glam convent. 

Overall rating: 
3.5 out of 5. 1950s silliness aside, the movie has a good pace and draws you in. If you overlook the creative additions, it's not a bad retelling of Ruth's story. I found it genuinely inspiring. 

The Book of Ruth: Journey of Faith (2009)

Creative license:

Grandpa Obed narrates the story of Ruth and Naomi to a teenage David who just can't get his slingshot aim right. Naomi and her family continue to trust God, even though things look bleak and their Moabite neighbors say the gods are cursing them. (Orpah's mom is particularly obnoxious.) Both of Naomi's sons die onscreen, then Ruth and Orpah argue about whether to stay with their mother-in-law.

Dramatic Themes:
This is a matriarchal society, no doubt. Most lines are spoken by female characters, and their relationships are at the forefront. Naomi is the real protagonist of this adaptation, dispensing motherly life advice constantly. The action moves at a glacial pace, mostly because all the women take forever to finish talking about their feelings.

Huh? moments:
Costumes and sets are pretty amateur- a table is clearly a sheet of plywood, "grain" is a straw bale from a farmer's market, wooden spoons came in a 4-pack at Wal-Mart, women are all wearing mascara and mauve lipstick under their makeshift veils.
When Ruth goes off to woo Boaz at the harvest festival, Naomi gives her a "beautiful new dress" that looks like a hideous striped vest.
Pentecostal music artist Carman makes a "celebrity" cameo as Boaz. His 1980s "Sunday's On the Way" album is a cult favorite in my family, but here he looks like a skeezy lounge singer wearing Mardi Gras beads.

Overall rating:
1 out of 5. The sincerity and earnestness of this production cannot, unfortunately, hide its poor production values and bad acting. If I saw this production in a church hall, I'd be impressed; as a feature film it's unwatchable. I had to skip ahead in 20 minute increments so Naomi would get to the point. Maybe a Sunday school class could overlook the glaringly modern language and lip gloss, but they would still get bored. 

Edwin Long,
Esther, 1878,
Private Collection.

The book of Esther essentially tells two stories about Israel's Babylonian exile and diaspora. One involves political scheming and the other reads like a fairy tale.  ived a fairy tale-like story . The tale begins with some flat-out chauvinism: Queen Vasti refuses to appear before the King Ahasuerus' drunk friends, so his advisers have him divorce her. Jewish orphan Hadassah/Esther is among the young women chosen for the "find a new queen" beauty pageant. After a year-long makeover, she captures Ahasuerus' affections, but keeps her Jewish identity secret. 
Meanwhile, her cousin and foster father Mordecai has saved the king from an assassination attempt. Unfortunately, refusing to bow to ambitious courtier Haman has also won him a mortal enemy. For revenge, Haman orders extermination of all the Jews. Esther risks her life by going before Ahasuerus unbidden to expose Haman's plot and plea for mercy. She swoons, the king listens, Haman is defeated with some deliciously poetic justice, and the Jews are saved. The holiday Purim celebrates this every year.  

Esther: The Girl Who Became Queen (2000)

Creative license:

Yes, this is a Veggie Tales video. There are singing vegetables. Haman wears a pinstripe suit, Vashti gets thrown out for refusing to make the king a sandwich at 3 a.m, and traitors are banished to the Island of Perpetual Tickling. It's delightful.

Dramatic Themes:
The goodfella narrator starts off by talking about destiny and greatness. Young Esther is confused about her sudden destiny as queen, and begs God to show her what the point of all this is.
Since this is for young kids, the script downplays the romance. Esther is chosen because she sings well in the talent portion of the queen pageant. Her only affectionate moment with the doofus king is when he calls her "Queenie-poo."
Did I mention the gangster accents? Haman's beef with Mordecai is presented as a fight between two "families." The infamous Pea-oni brothers try to kill the King by dropping a piano on him.

Huh? moments:
Again, this is a Veggie Tales video. A scene of Haman and the King playing Trivial Pursuit while eating Chinese take-out at Esther's feast is just one of the apocryphal moments. If this bothers you, there is a chance you might take life too seriously.

Overall rating: 
4 out of 5. The colorful insanity is fun and good-natured, while the plot genuinely sticks to the main events of the Biblical account. The Book of Esther will sound very familiar to kids once they can read it for themselves.

One Night With the King (2006) 

Creative license:

This is a pretty faithful retelling of the Book of Esther that ramps up the political intrigue aspect. Minor characters get much more screen time, like the head eunuch who favors Esther. Many scenes were filmed in India, so there are lots of colorful textiles.
Despite its sensual-sounding title, this film tells a very G-rated love story fraught with the mis-communication common in romantic comedies. Esther longs to visit Jerusalem, but her priorities quickly change when she meets Fabio-like King Xerxes. Then he sees her sneaking off to meet Mordecai and assumes she's cheating, while she worries that he will cast her off like Vashti. (They should have addressed that in Pre-Cana.) Is their love doomed?

Dramatic Themes:
Again, Esther's story evokes musings on destiny and greatness. Our heroine is really named Hadassah, but Morcedai gives her a Persian name to disguise her Jewishness in the palace. Later she observes that Shadrach, Meshach, and Abednego, and even Jacob, were given new names.
The Persian Jews struggle with how much to adopt their country's ways. A visitor from Jerusalem even asks if Mordecai has sold out.
The script links Esther's secret Judaism to her necklace etched with anachronistic stars of David. It's a hokey plot device that distracts from the original drama of Haman's comeuppance.

Huh? moments:
In the biblical account Esther and Mordecai have a friend among the palace eunuchs who delivers messages for them. The script writers achieve this by having Esther's sort-of boyfriend get rounded up and castrated in a palace hiring surge. It's awkward when he begs her to escape with him and she shoos him away. (It's also incredibly awkward to explain eunuchs to your 12-year-old brother during a movie.)
Much is made of Persia's Greek enemies and their dangerous "democracy." Haman warns an angry mob that both Jews and Greeks claim "All men are created equal." I could go on all day about this historic oversimplification, but I'll spare you.
There are several notable cameos, including Omar Sharif and two LOTR alumni. Peter O'Toole gets top billing but only appears for about 30 seconds as the prophet Samuel. He spars with King Saul and then hacks the defeated King Agag apart offscreen. (It's in the Bible. Really.)
There are also some crazy hats. 

Overall rating: 3.5 out of 5. Its has a lower-budget indie feel, a cartoonishly evil villain, and too much narrative padding, but this film is still pretty to look at and heartwarming to watch. All the main elements of the Esther story are there. A confirmation class would not get bored watching.

So this Holy Week, as we sing the Stabat Mater and remember the women who mourned Christ, think of the long line of brave women who prefigured them. We daughters of Eve and of Mary have a rich heritage of love, devotion, and courage. That really ought to be on movie screens more often. 

Seven Quick Jesus Movie Takes

For this week's linkup to 7 Quick Takes at Conversion Diary, I thought I'd mix it up and do some short movie reviews. Religious films are a mainstay of my family's Lenten season, and it feels like I've seen dozens of cinemative Jesuses over the years.
Putting the Gospels on screen is a daunting task, since the 4 Evangelists didn't give us much narrative detail. Also, there's a lot to live up to. How can an actor portray the Son of God, who is all things to all men? Does the man on screen match our own imaginings of Christ? Yet filmmakers and audiences return again and again to the well known story. It's probably because we wish we had been there, and film is the closest we'll ever get to time travel.

So here are some of my favorite imaginings of the past, in semi-chronological order.

1.The Robe (1953) 

Marcellus Gallio is a bored, dissolute centurion until he crucifies Jesus and the memories haunt him. He decides to track down his runaway Greek slave Demetrius, who became a Christian and possesses Christ’s robe. This is an action-packed yet spiritual costume piece. Brother #3’s teacher showed it in class and all the 5^th graders were hooked. Fun fact: the first film released in Cinemascope.

Pros: The people Richard Burton’s Marcellus meets on his quest for Demetrius are an excellent representation of Christian community. In the second act, the film deals with martyrdom as Burton returns to Rome to hang out in the catacombs and challenge Emperor Caligula. Redemption, miracles, courage. Also Richard Burton being Richard Burton.

Cons: Richard Burton being Richard Burton – it can get distracting. His swooning girlfriend is annoying too.

Notable performances: Victor Mature gives Demetrius an air of quiet dignity, while Caligula gives Richard Burton a run for his money in the dramatics department.

Favorite Scenes: Marcellus meets St. Peter, who shares about betraying Jesus and then basically hears his confession. I also really like the crippled girl who teaches Marcellus about the redemptive value of suffering.

Jesus rating: 4 out of 5 He’s never really visible, but still very present. You can see why the other characters find him so compelling.

2. The Greatest Story Ever Told (1965)

The original all-star cast Jesus epic, based on a book by Fulton Ousler.

Pros: Old Hollywood epic scale, plus cameos by nearly every actor working at the time. Sidney Poitier as Simon the Cyrene? Why not. George Stevens arranged each scene like a painting, making dramatic use of light and color.

Cons: The desert landscape is pretty obviously Arizona. There’s a surprising amount of artistic liberty in the plot, like the random Temple massacre that leaves you saying “Huh?” The carefully arranged set pieces can feel like the set of a school play.

Notable performances: Charlton Heston is a no-brainer to play firey John the Baptist. There’s also John Wayne’s infamous “Truly this man was the son of Gawd.”

Favorite scenes: Jesus heals the man born blind, who remembers knowing Him as a child. In the temptation scene Satan is a wiley old guy hanging out in a cave. Mary Magdalene travels with the disciples after her conversion.

Jesus rating: 3 out of 5. Max von Sydow is nice enough, but seems too calm and unrumpled.

3. Jesus of Nazareth (1977)

Franco Zefferelli’s longer, more star-studded version of the Jesus epic. This is the Easter time cable tv special I grew up with. (Seriously, I can recite entire scenes of dialogue.)

Pros: The miniseries format allows Zefferelli to expand the Nativity story and really flesh out characters, especially the Apostles and the Sanhedrin. Miracles and preaching get extended sequences too.

Cons: It is reallllly long. The plot loses steam in the final hour, relying on fictional scribe Zerah (Ian Holm) to explain Jesus’ arrest. The final resurrection is anti-climactic.

Notable performances: It’s really hard to pick from such a killer cast, but Peter Ustinov and Christopher Plummer are very entertaining Herods. James Farentino and Michael York and the reasons I love St. Peter and St. John the Baptist.  You also won’t forget Anne Bancroft’s Mary Magdalene, who chews up the scenery on Easter morning.

Favorite scenes: Jesus tells the story of the Prodigal Son at a party thrown by tax-collector Matthew; it inspires Matthew to abandon his decadence and reconcile with Peter. The last episode has extended scenes in the Temple, where Jesus argues with Pharisees, preaches to children, and even meets Barabbas.

Jesus rating: 3 out of 5. Amidst such a stellar crowd, it’s hard for Robert Powell to stand out. His Jesus has Shakespearean gravitas, but also detached otherworldliness. As my middle-school math teacher quipped “Half the time he looks like he’s stoned.”

4. Jesus of Montreal (1989)

When a motley troup of Montreal actors puts on an unconventional Passion play, church authorities are skeptical but the cast find their lives transformed. Actors begin to emulate the characters they portray.

Pros: I learned about this film when a professor showed it for extra credit, and was amazed at what it said about compassion and how God can work through sinful humanity. It addresses modern life with critical eyes. Also, it’s fun to try to catch all the Biblical allusions in the plot.

Cons: Just a general disclaimer that adult maturity is needed. There’s some iffy 1980’s theology and biblical criticism in the play’s script. Also, the film is honest about the characters scandalous pasts, but that raunchy film dubbing scene was pretty gratuitous. In true European cinema fashion, there are some very brief flashes of non-erotic nudity. Basically, you might not show this to your Sunday school class, but your young adult Bible study could get a lot out of it. FYI there are subtitles.

Notable performances: Gilles Pelletier as Fr. Leclerc, the jaded priest who needs ministering to himself.

Favorite scenes: “Money changers in the Temple” – when one of the actresses is mistreated while auditioning for a skeezy beer commercial, Daniel/Jesus takes matters into his own hands. It’s a powerful testament to human dignity. The final scenes in a train station are also incredibly moving.

Jesus rating: 4 out of 5. Daniel’s performance really makes you think about Christ’s suffering and selfless love.

5. The Passion of the Christ (2004) 

Mel Gibson’s controversial film depicts only the final day of Jesus’ life, laced with some important flashbacks.

Pros: The intense scenes are ripe for theological discussions about the ugliness of sin and the sacrificial nature of the Eucharist. The film’s steady, even pace invites a meditative mindset. The dialogue is only in Aramaic and Latin, forcing viewers to concentrate more closely. (Plus it lets you practice your high school Latin, or maybe that’s just me.)The soundtrack is exquisite.

Cons: There was hope that this would be a great evangelical tool, but without any contextual understanding non-believers are just turned off by the gore. Even for devout Christians it can be excessive, and some of the most horrific parts come from private revelations, not scripture. I think I can have a meaningful Good Friday without Gibson’s signature spurting blood for shock value.

Notable performances: Maia Morganstern is hands down the best virgin Mary I have ever seen on film. Her heartfelt yet understated performance actually made me want to pray the rosary.

Favorite scenes: There are many great vignettes: Mary watching Jesus fall, flashbacks of their life in Nazareth, the final Pieta shot. A defeated Satan and a triumphant resurrection give the story the dramatic conclusion it deserves.

Jesus rating: 5 out of 5. It’s clear that Jim Caviziel put his heart and soul into this role. In the flashbacks especially, his Jesus is joyful, loving, and sincere.

6. The Miracle Maker (2000)

An animated take on the all-star epic, told through the eyes of Jairus' daughter Tamar. This is what I'm sending my godson and his sisters for Easter this year. 
Pros: This animated film is approachable for kids, but still interesting for adults. Tamar's central role gives the narrative a family focus, and shows how Jesus inspired his followers. Claymation gives the film a great physicality, while flashback and parables in regular animation allow for some creative storytelling.
Cons: Stop motion animation isn't for everyone (even though it should be.) Mary Magdalene being freed from 7 demons might be too scary for very young children.
Notable performances:  Really great all around. The all-star British cast was actually in the same room when they recorded dialogue, so there is a real conversational tone. I liked how John the Baptist had a Scottish accent, showing his nonconformity.
Favorite scenes: When Tamar falls very ill, Jairus has to decide if going to Jesus is worth the wrath of his synagogue colleagues. I won't spoil the road to Emmaus scene, but it's wonderful. 
Jesus rating: 5 out of 5. He's confident, compassionate, and friendly.  We even get to see Him doing carpentry work and weeping at the death of John the Baptist.  Tamar has a real relationship with Him; she's not just a prop in the "suffer the little children" scene. Ironic fun fact: Ralph Finnes previously did biblical voice acting as pharaoh in The Prince of Egypt.

7. The ultimate Jesus film has yet to be made, and probably never will. Movies will never completely replicate the real thing. What really matters is how each of us individually relates to the Gospel story. The Church has a long tradition of live theater to help us mentally place ourselves within the Passion drama. This Holy Week, go to Stations of the Cross or the Liturgy of the Lord's Passion, and connect with the real Jesus, who lives beyond the movie screen.

(Update: This afternoon The Pulp.It featured this post in their daily digest of Catholic blogs. If you've come here from them, thanks for visiting!)
(Another update: holy schlamoley, New Advent featured this too! This has pretty much made my week. If I've left out a favorite film of yours, please leave a comment about it. I'd love to review a new set of films next Lent.)

All images are from Amazon.com