...it's not dark yet, but it's gettin' there...
Today is Good Friday. There are some among my visitors who are religious, even religious intellectuals. i found a dense article by Romanus Cessario, O.P., which reviews Gibson's The Passion of the Christ in light of St. Thomas Aquinas' Summa Theologica.
i must admit, i have not read Summa Theologica and i had difficulty following a lot of the discussion. However, there is a passage in the review that addresses one problem i had with The Passion, which i described in my own review when i wrote:
The scourging scene goes on for an unnecessarily long time. Historically, people died from scourging. It didn’t take a lot of strokes to kill someone, and Jesus was whipped savagely in the movie. Though i’m not an expert on this, i really do think any person would have died from that amount of flogging. There was so much blood on the floor after the scourging scene, it is impossible to believe that Jesus wouldn't have at least passed out, let alone believe that he could carry a heavy cross afterwards. We know that Jesus did not die until he was on the cross for three hours, so i think Gibson overdid the scourging scene.Fr. Cessario's review addresses my problem thusly:
If one allows that the scenes of punishment exceed the modesty of the Scriptures themselves, or if we follow those who opine that after such beatings and harsh treatment, no man would be able to shoulder the cross or even walk, there is still the explanation that the artist chose this excess for a theological reason.i think that's roughly what i meant when i said:A long theological tradition supports this sort of iconographical modification: The Church asks us to ponder the price that the Savior of the world paid. Without this meditation, one cannot embrace the full dimensions of Catholic piety; instead, we would find ourselves moving rapidly toward those various forms of de-sacramentalized Christianity that focus exclusively on interior psychological states.
Thematically, it’s clear Gibson wanted to shock the audience with the amount of torture in the scourging. His torture represents the sins of mankind. It looks horrible because Gibson wants to impress us with the magnitude of God’s gift to us. That was the director's choice. If Gibson had toned it down to a less shocking level, maybe we wouldn’t get the message.Fr. Cessario also points out that Gibson's intent was to show the divine aspect of Jesus, which previous directors chose to downplay in favor of His human aspect, perhaps because our secular world accepts His humanness more readily, and perhaps because it is impossible to represent divinity accurately on film.. . .
Nowadays, people seem to think that Jesus came simply to tell us to be nice to each other. It’s a pleasant message, and it fits into our overly secular world without ruffling too many feathers. But, it’s not why Jesus came here. Remember, we didn’t need Jesus to tell us to 'love our neighbor.' That commandment was already in Leviticus. But in our secular world, people have forgotten the real reason Jesus came to earth, which was to suffer, to die, and to rise again.
Mel Gibson directs Jim Caviezel in a way that, in my view, approaches accomplishing the impossible. There are the Christs of Pasolini, of Zeffirelli, and of Rossellini, but the Christ of Gibson captures what these others were content to accomplish by representing a high expression of human values.i might disagree somewhat with the last sentence of that quote, because, as i said:Although I am not an art critic, it seems to me that the very excesses, even the distortions, which some commentators have questioned, in fact aim to show us that this man is more than human. That we have to look elsewhere for the source of his human endurance.
The whole point of Jesus’ torture and death was for Him to submit to it as a man. Using His power as God to withstand any torture would have been accepting the Devil’s temptation.But Fr. Cessario's article also got me thinking: maybe Jesus' endurance seemed impossible in the film because it was supposed to be the extreme limit of human endurance. Perhaps Gibson intended to show that Jesus, while rejecting the temptation to supernatural intervention available to Him, endured the limit of human suffering because He knew the purpose of His mission, where another might have succumbed out of weakness or incomplete knowledge. Just a thought.
Nice entry, one of the ones i'll print out to contemplate in a more serious manner after work.
Posted by: Scof on Apr. 9, 2004okay, almost done with my lunchtime lurking on your site...wanted to add this little gem I found:
http://www.brothersjudd.com/blog/archives/011944.html
"I remember being at a retreat once where the leader asked us to think of someone who represented Christ in our lives. When it came time to share our answers, one woman stood up and said, "I had to think hard about that one. I kept thinking, Who is it who told me the truth about myself so clearly that I wanted to kill him for it?"
Posted by: Scof on Apr. 9, 2004Great link, great article, great thoughts, Annie -- I like your concluding words in particular.
Posted by: Hugo on Apr. 9, 2004Excellent post Annika.
I do have one thought though. If Christ's only goal was to endure the pain and torture of the cross, God could have chosen any strong and virtuous man to do this task without sending his only Son. But Christ's mission was to carry the sins of the world, a task only the Son of God, or God himself, could handle. During his ministry, Jesus often performed miracles using his divinity, so I think to try and separate the man and the diety during the most important work in his life would be foolish. His mission was not for just an ordinary man, so why would the process of his death be?
I didn't count, but is did seem that there were a lot more stripes than "forty save one". But I think that Mr. Gibson did get his point across.
Posted by: javaslinger on Apr. 9, 2004"Just a thought." And a good one at that.
I don't think perfect realism would have been as effective in conveying the message. It is about the eucharist--his shed blood and broken body. If there was a bit much of both, it only serves to emphasize the point.
I do not agree with you about Gibson over doing the scourging, because in Isaiah 52:14 (KJV) As many were astonied at thee; his visage was so marred more than any man, and his form more than the sons of men. I believe that it was a lot worse than in The Passion. It says that the scourging cuts through the flesh than as it is repeated it goes through tissue and cuts the flesh like ribbons. I think Gibson did justice for us in not making it as bad as it really was, because for me, it was hard to watch as it was.
I do agree with you about the raven on the criminals cross and "Satan" in the movie. The Bible does not say anything about any of that.
Posted by: Carol on Apr. 26, 2004My favorite artist is Renior,how about you?
Edward hopper paintings
Mary Cassatt paintings
gustav klimt paintings
oil painting reproduction
Oil Painting
handmade Oil Painting
mark rothko paintings
Old Master Oil Paintings
Nude Oil Paintings
dropship oil paintings
Mediterranean paintings
Oil Painting Gallery
Alfred Gockel paintings
Alexei Alexeivich Harlamoff paintings
Aubrey Beardsley paintings
Andrea del Sarto paintings
Alexandre Cabanel paintings
Anders Zorn paintings
Anne-Francois-Louis Janmot paintings
Allan R.Banks paintings
Andrea Mantegna paintings
Arthur Hughes paintings
Albert Bierstadt paintings
Andreas Achenbach paintings
Alphonse Maria Mucha paintings
Benjamin Williams Leader paintings
Bartolome Esteban Murillo paintings
Berthe Morisot paintings
Cheri Blum paintings
Camille Pissarro paintings
Carl Fredrik Aagard paintings
Caravaggio paintings
Claude Lorrain paintings
Claude Monet paintings
Charles Chaplin paintings
Diane Romanello paintings
Diego Rivera paintings
Don Li-Leger paintings
David Hardy paintings
Dirck Bouts paintings
Dante Gabriel Rossetti paintings
Daniel Ridgway Knight paintings
Edmund Blair Leighton paintings
Eugene de Blaas paintings
Eduard Manet paintings
Edwin Austin Abbey paintings
Edward Hopper paintings
Edgar Degas paintings
Emile Munier paintings
Edwin Lord Weeks paintings
Fabian Perez paintings
Francois Boucher paintings
Frank Dicksee paintings
Ford Madox Brown paintings
Federico Andreotti paintings
Fra Angelico paintings
Frederic Edwin Church paintings
Frederic Remington paintings
Francisco de Goya paintings
Filippino Lippi paintings
Francisco de Zurbaran paintings
Gustav Klimt paintings
Georgia O'Keeffe paintings
Gustave Clarence Rodolphe Boulanger paintings
Guillaume Seignac paintings
George Owen Wynne Apperley paintings
Gustave Courbet paintings
Guido Reni paintings
George Inness paintings
George Frederick Watts paintings
Guercino paintings
Howard Behrens paintings
Henri Fantin-Latour paintings
Horace Vernet paintings
Ivan Constantinovich Aivazovsky paintings
Il'ya Repin paintings
Igor V.Babailov paintings
Juarez Machado paintings
Joan Miro paintings
Jean-Honore Fragonard paintings
Jehan Georges Vibert paintings
Jean-Baptiste-Camille Corot paintings
James Childs paintings
John Singleton Copley paintings
Joaquin Sorolla y Bastida paintings
Joaquin Sorolla y Bastida paintings
Joseph Mallord William Turner paintings
Julien Dupre paintings
Julius LeBlanc Stewart paintings
Jeffrey T.Larson paintings
Jean-Paul Laurens paintings
Jules Breton paintings
Johannes Vermeer paintings
Jacques-Louis David paintings
John Everett Millais paintings
James Jacques Joseph Tissot paintings
Jules Joseph Lefebvre paintings
Jean Auguste Dominique Ingres paintings
John William Godward paintings
John William Waterhouse paintings
John Singer Sargent paintings
Jean-Leon Gerome paintings
Lorenzo Lotto paintings
Louis Aston Knight paintings
Leon Bazile Perrault paintings
Leon-Augustin L'hermitte paintings
Lady Laura Teresa Alma-Tadema paintings
Louise Abbema paintings
Leonardo da Vinci paintings
Lord Frederick Leighton paintings
Mark Rothko paintings
Montague Dawson paintings
Mary Cassatt paintings
Maxfield Parrish paintings
Martin Johnson Heade paintings
Nancy O'Toole paintings
Philip Craig paintings
Paul McCormack paintings
Patrick Devonas paintings
Peder Mork Monsted paintings
Pierre Auguste Renoir paintings
Peder Severin Kroyer paintings
Pieter de Hooch paintings
Pietro Perugino paintings
Peter Paul Rubens paintings
Rudolf Ernst paintings
Robert Campin paintings
Rembrandt paintings
Raphael paintings
Salvador Dali paintings
Stephen Gjertson paintings
Sir Henry Raeburn paintings
Thomas Cole paintings
Theodore Robinson paintings
Titian paintings
Theodore Chasseriau paintings
Ted Seth Jacobs paintings
Vincent van Gogh paintings
Vittore Carpaccio paintings
Warren Kimble paintings
Wassily Kandinsky paintings
William Etty paintings
William Merritt Chase paintings
William Blake paintings
Winslow Homer paintings
William Bouguereau paintings