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Every year during the Pascal Triduum my family watches #TheMiracleMaker in three unequal installments. This year I think I’ll live-tweet our viewing. https://decentfilms.com/articles/must-see-easter-viewing
The title was suggested by Mel Gibson when Icon picked up distribution. The working title, “In My Father’s House,” was a double allusion to the finding in the Temple and Jesus’ saying about preparing a place for us. I liked the original title better.
Love the opening shot of Sepphoris and the premise that Jesus worked there (the closest city to Nazareth, a tiny village where there wouldn’t have been much work).
I think @MattPage has noted that opening title, “Year 90 of the Roman occupation,” helpfully takes us out of our BC/AD reckoning.
The story echoes Ben-Hur in introducing Jesus in the story’s most notable fictionalized depiction of Jesus: giving a drink to Ben-Hur; stopping the foreman from whipping Mary Magdalene. A physical act of kindness in both cases, creating an emotional bond with the POV character.
We meet Andrew being baptized by John, but we don’t know it’s Andrew until later. Andew is thus the first of the 12 to see Jesus, and to hear a John acclaim him the Lamb of God.
The Temptation in the wilderness introduces the use of cel animation to represent subjective experiences.
Ralph Fiennes is really quite wonderful as Jesus. Strong, authoritative, but also friendly, emotionally accessible, humorous.
I understand, again from @MattPage, that he uses a vaguely north English accent, not too posh to be a laborer from a small town.
I understand, again from @MattPage, that he uses a vaguely north English accent, not too posh to be a laborer from a small town.
The economy of the screenplay is astonishing. Major concepts and themes—Roman/Jewish conflict; the messiah; the kingdom of God—introduced with great efficiency.
Love the animation on the parables of the wise and foolish builders and the speck and log in one’s eye. Brings out the humor in Jesus’ teaching, so often overlooked.
“We’re not paying taxes for thin air!” “James! John! Tie up the boat and don’t pay!” Peter’s fiery personality; the bad rep of Galilean troublemakers; tax collectors viewed as traitors; the introduction of Matthew. The dovetailing is incredible.
The miraculous catch of fish is Jesus’ first miracle. Following Luke’s Gospel, it sets the stage for the call of Peter, Andrew, James and John.
“This man has no respect for anyone!”
“Oh, he has plenty of respect for thieves and vagabonds.”
Jesus’ habit of scandalously wide table-fellowship has been neglected in many productions, but not this one.
“Oh, he has plenty of respect for thieves and vagabonds.”
Jesus’ habit of scandalously wide table-fellowship has been neglected in many productions, but not this one.
The conflict for Jairus, who sees signs of Jesus’ power, and is desperate to save his daughter Tamar, but fears the disapproval of the religious establishment, is well developed.
Exorcism of seven demons from Mary Magdalene overtly recalls Cecil B. DeMille’s silent KING OF KINGS—but gratifyingly there’s no invocation of the seven deadly sins here, nor any suggestion that Mary was a notorious sexual sinner or prostitute.
“Why have we come here? They don’t want us here.”
“I don’t know, but let’s eat before they change their minds.”
“Master, we are honored by your presence…although we understand you prefer to keep company in another part of town…?”
Class consciousness and religious gatekeeping.
“I don’t know, but let’s eat before they change their minds.”
“Master, we are honored by your presence…although we understand you prefer to keep company in another part of town…?”
Class consciousness and religious gatekeeping.
One of the things I most love here is how Tamar has been intrigued by / attracted to Jesus, so that when he raises her, her response is not “I’m all right!” but “You came!”
He’s not just a “miracle maker.” He’s JESUS. He cares. He’s here. That’s what matters!
(End of viewing 1)
He’s not just a “miracle maker.” He’s JESUS. He cares. He’s here. That’s what matters!
(End of viewing 1)
