It is impossible to view a work of art objectively. Human beings accumulate numerous experiences, thoughts, and emotions in the course of our lifetime, and when we enter a theater or gallery or concert hall, we carry this baggage with us. The way we view a piece of art is in many ways a reflection of how you view life as a whole.
Never has this been more true than in the case of Mel Gibson's new film "The Passion of the Christ," a truly critic-proof movie if there ever was one. The saved will find affirmation of their faith in the course of its 135 minutes, while the atheist will find little more than a big budget snuff film. Both views are accurate. Very little happens outside of Jesus being captured, tried, tortured, and ultimately killed. Gibson has made no secret of his movie's purpose: it is a brutally realistic portrayal of the last twelve hours of Jesus's life, and to show the extent of Christ's suffering on the behalf of all mankind. There is no question that he succeeds; my purpose is to simply report how well he succeeds in my eyes.
As I said before, what we get out of this film is largely dependent on what we bring to the table, so it's worth clarifying where I come from. I find the story of Jesus fascinating in the same way I find all mythology fascinating, in moving in the way any well-told story is moving. However, I have no spiritual investment in the tale, and believe some of it should be taken with a grain of salt. When I watch a movie I want to be wrapped up in the action on screen and to feel what the characters are feeling (which is why people who talk during a movie annoy me so much.) I come into every film wanting to be moved in some way, and this one is no different. Unfortunately, it failed in this respect.
The single biggest complaint that could be leveled against the film is that there is little to no context given for what we see. We recognize Jesus as a religious icon, but we are given no reason to really care about him as a person, and the same goes for virtually every other character. The apostles simply watch passively as their savior is turned into hamburger meat. Mary Magdalene does a lot of crying but not much else. Pontius Pilate is the only figure who's really engaging. There are flashbacks to earlier chapters in Jesus's life tossed in at seemingly random intervals, but these are often seen after the emotional payoff these scenes would normally lead to (Peter's denial is a good example of this.) Some may argue that most people watching the film are already familiar with the backstory, but this is akin to Peter Jackson making Return of the King but not bothering with the earlier installments: even if you've read it before, you don't have any real emotional investment in the characters. It could also be argued that many details are left intentionally vague to inspire the audience to pick up a bible and look it up; but if that's the case, the film only succeeds as a conversion tool, not as a story.
This is a shame because some of the performances are so good. For as little screentime as he has, Peter is played with just the right mix of guilt and affection. Jim Caravaziel's as Jesus is almost wasted in this film. We get glimpses of the sermon on the mount and the last supper which show the messiah as a loving son, a caring friend, and a charismatic speaker. Unfortunately, these moments are few and far between, and the majority of the performance consists of bleeding and gasping for breath. When Pontius Pilate is a more compelling character than Jesus Christ himself, you know something's wrong.
Technically the film is well made. The cinematography is beautiful, and several shots are stunning. The art direction and costumes create a Jerusalem that feels like an accurate representation of that time and place. But at the same time the music and editing are consistently distracting in their heavy-handedness. Gibson showed his obsession with slow-motion in Braveheart, and there's even more of it here. Early in the film we're given one of the most inept action sequences I have ever witnessed, filled entirely in slow-motion. The few shots that start out normal end up slowing down as well. Later as Jesus is carrying the cross through the streets of Jerusalem, he falls six times and each one takes an eternity thanks to Gibson's eagerness to undercrank every shot he can. The crucifiction itself is lingered upon with almost masochistic attention to detail.
Much has been made of the violence in the film, but it serves a purpose. The physical agony and suffering of Christ is shown to the fullest extent, and it drives home the point in spectacular fashion. But then there are other scenes added for shock value and nothing more. A crow pecks out the eye of one of the other crucifiction victims and it feels as if Dario Argento took over the camera for a day. Judas hangs himself as the camera lingers on a rotting carcass in extreme close-up. In fact, the entire Judas subplot is filled with inexplicable and pointless details like a band of evil children chasing him out of town. And then another demon child pops up accompanied by the devil in a different bizarre detour as Jesus is scourged. With the exception of the opening scene of the film, Satan's presence seems like a strange afterthought, as he simply prowls the sidelines watching the going-ons. Worst of all, the Romans are reduced to cartoon villains, cackling, spitting, ugly charicatures with bad teeth. Their portrayal was gratuitous and unnecessary.
I don't think I liked the film. I appreciated Gibson's obvious passion for the material, and the attention paid to detail. But I left the picture feeling as if I had watched a man be tortured for two hours. And that's just the problem. He was just a man and a symbol in the film, not someone I cared for, not the savior of mankind. With the proper development of the characters and events leading up to the crucifiction, "The Passion" could have been one of the most moving films ever made. Instead, when Jesus is finally removed from the cross I felt only relief that it was over. We are given a shot of Mary cradling her son's lifeless body in her arms; it's a beautiful shot, and almost breathtaking. It's then immediately followed by Jesus's resurrection, which is handled so cheesily (complete with CG stigmata and pounding drums as if it were some kind of revenge fantasy) that I had to roll my eyes. Those two reactions pretty much summed up the entire experience for me.