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Mel Gibson did a great job with all the symbolism in the movie: Mary's obedience Judas' desperation all the people shocked by Jesus' mere presence. When he is carrying the cross and falls, Mary runs to him and it's such a symbolic scene of how much she loves her Son, and how much she wants His suffering to end, even though she accepts the will of God. When he talks to the people, you feel so much goodness in his tone when he is accused of blasphemy you can feel his innocence even if nothing is spoken. He seems very humble, very vulnerable, very soft, yet very strong and confident. The way Jim Caviezel plays Jesus is so powerful. So I really don't think it's a big deal if an atheist doesn't like it but if a catholic doesn't like it I'll be confused. The lens through which one watches it it's what define its greatness. This is of course from my Christian perspective, and I wouldn't even try to talk about what's great in the movie from a secular perspective.
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And I'm not the kind of person that reads about Jesus crucified and direct relates it to all the bad things I did to contribute to that moment, and even when I do, it's more like in a lucid, almost indifferent way, while the movie forces me to feel the burden that I've put on My Lord's shoulder.
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So I, the spectator, am experiencing with all my emotions what I can only imagine and reflect about when reading the Gospels. The emphasis on violence is fundamental, as it's what reveals how much God suffered because of what I did. First of all, passion means suffering, and for all those people that complain about the violence in the movie, I think it's because they don't get Christ's Passion at all. Philosopher Peter Kreeft called it the "most beautiful movie ever made", and when I think about it in the light of the Christian faith, it's hard to disagree. I've seen a lot o people talking trash about this movie - even a lot of christians -, and I find it hard to understand why.
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Realizing that his own decision will cause him to become embroiled in a political conflict, Pilate defers to King Herod in deciding the matter of how to persecute Jesus. Pilate listens to the accusations leveled at Jesus by the Pharisees. Jesus is brought before Pontius Pilate, the Roman Governor of Palestine, for his sentencing.
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There, the leaders of the Pharisees confront him with accusations of blasphemy subsequently, his trial results with the leaders condemning him to his death. Betrayed by Judas Iscariot, the controversial Jesus-who has performed 'miracles' and has publicly announced that he is 'the Son of God'-is arrested and taken back within the city walls of Jerusalem. The story opens in the Garden of Olives where Jesus has gone to pray after the Last Supper. It was inevitable given his own path as a musician obsessed with the music of the world enough to found a label to showcase it.Directors: Mel Gibson, Cast: Monica Bellucci, Jim Caviezel, Christo Jivkov, Maia Morgenstern, Movie Description: A depiction of the last twelve hours in the life of Jesus of Nazareth, on the day of his crucifixion in Jerusalem. But he combined them with startling sound effects and masterful pairings of seemingly disparate talents, coming up with something out of time and space. Gabriel, of course, made liberal use of Near Eastern scalar inventions as well as traditional melodies and harmonies that were not his own. It owes a great debt to Peter Gabriel's truly visionary soundtrack/score to Martin Scorsese's The Last Temptation of Christ. The music here is not visionary, however, and that is not necessarily a criticism. Solo and choral voices encounter the tension of an outside narrative, resolve, and even transcend it. Nearly 55 minutes in length, it seamlessly flows from beginning to end, creating aurally panoramic soundscapes and textural vistas with masterful employment of percussion, folk instruments from many traditions, and Eastern-tinged harmonics. It succeeds as a coherent, moving, well-executed musical statement whether or not one has seen the film. Composer and multi-instrumentalist John Debney's score for Mel Gibson's controversial film The Passion of the Christ is such an offering. The test of the mettle of any original soundtrack, particularly where an original score is present, is whether that music stands on its own apart from the film that inspired it.