THE PASSION OF THE CHRIST, 22 Years Later

It has now been 22 years since Mel Gibson’s Passion of the Christ was released AND IT remains a cultural barometer of the way Christianity is perceived throughout the Christaian world and especially in America and Canada. From the moment Gibson announced his intention to make The Passion, his personal life was investigated, religious beliefs mocked, and sincerity as a filmmaker questioned. As a “traditionalist Catholic,” it was assumed he held outdated, if not erroneous, beliefs about Jewish-Catholic relations. Rabbi Daniel Lapin and radio host Michael Medved defended Gibson against charges of anti-semitism. While Gibson’s later anti-semitic tirade permitted many to dismiss the film, it still merits consideration on its own terms. When a group of academics acquired a copy of his screenplay, they accused Gibson of sanctioning prejudice, ignoring biblical scholarship, and violating the teaching of his own Church. The campaign against The Passion of the Christ climaxed when the New Republic published “Mad Mel” warning of dire consequences if the film went forward as planned: “When violence breaks out, Mel Gibson will have a much higher authority than professors and bishops to answer to.” Ironically, many of the same people appealing to Mel to act responsibly were the first to ignore their own counsel. But the vast majority of those attracted to The Passion weren’t following these controversies that closely. What they knew was that a much-discussed film on Jesus was about to appear from a major star. Gibson did not disappoint. The evocative scenery, moving score, and use of biblical languages all bring the Gospel vividly to life. But the success of the film owes even more to its exceptional acting, particularly by the two leads. Portraying Jesus on screen convincingly is a daunting task, but James Caviezel accomplishes just that. His intense and controlled performance seeks to capture the dual nature of Christ: From the moment we see him praying at Gethsemane, to the Sermon on the Mount, to the Last Supper, to his exchanges with Pilate, Christ’s divinity is memorably conveyed. At the same time, his humanity shines through in his tender interactions with his mother, his apostles, the downtrodden, and above all, in the sufferings he undergoes during his Passion. Gibson’s depiction of the latter is searing, relentless, and difficult to watch. Understandably, some thought it too intense. But this is made bearable by the performance of Maia Morgenstern as Mary, Mother of the Lord. Like us, she is devastated at the suffering Jesus must endure, but at the same time realizes it is the will of God to redeem humanity of its sins, and so accepts it. Throughout the film, Christ’s struggle against evil—and by extension, humanity’s struggle against sin and temptation—is represented by the recurring appearance of Satan. Thus Gibson makes clear that the major conflict going on in the film is supernatural, transcending any earthly agendas among Romans, Jews, and the followers of Jesus. At the outset of the film, Isaiah 53 is referenced as Gibson reminds us of our shared responsibility for Christ’s suffering. PG