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Gibson's gory interpretation of Christ's final hours on earth interspersed with flashbacks is just that: his interpretation as a filmmaker. And while it may serve as a religious experience for those looking for one in a movie theatre it does little to illuminate the historical/political context of the period. Like My Big Fat Greek Wedding, The Passion is thin on plot development but fat on successful marketing. Both films went straight up the church steps to solicit the collection basket of approval. In My Big Fat Greek Wedding, Greek orthodox churches were turned into movie houses and for The Passion Gibson held various advance screenings at Evangelical churches to drum up buzz. Both films immediately resonated with audiences who easily related to the images on the big screen. Unfortunately in both cases mediocrity is the prevalent theme. While there's no justification for anyone to criticize a movie they haven't seen, it seems that in the case of The Passion the filmmakers intentionally and irresponsibly allowed the controversy to build up for the sake of ringing up a few more tickets. The opening scene of the movie is nothing short of ridiculous. From the smoky blue fake set and squawking crow signaling the danger lurking ahead, to Jesus being thrown off of a bridge and immediately meeting the gaze of Judas, it doesn't exactly look promising for what's to come. And as androgy-Satan (Rosalinda Celentano) slithers around holding a deformed baby, the movie immediately delves into the quicksand of a B-movie from the Trinity Broadcast Network (as anyone familiar with their mega complex in Costa Mesa, CA can attest). But the crux of the film is a different matter altogether. To witness the torture of anyone, anywhere is a horrible thing. And here Gibson spares no expense in the plein aire torture chamber. Is it the most violent movie ever made? Sickening? Nauseating? Repulsive? No more or less than any other action/sci-fi film. It's just the subject matter that complicates the issue. Nevertheless, watching someone being tortured isn't easy and there are some truly heartbreaking images of suffering in the film. Unfortunately, they're completely overshadowed by Gibson's unrelenting excessiveness. He is so over the top in certain moments that, unlike Quentin Tarantino who at least knows when and how to balance black humor and violence, it cannot be taken seriously and feels insulting. It's as if extras from Braveheart were hired to come in and finish the job. For all of the beatings and abuse Caviezel's character receives in the film, it just doesn't seem likely that he could survive let alone march to the Calvary to be crucified carrying a cross that looks to be at least three times his weight. "Give me a break!" scenes detract from the story, such as the one-two-three flipping over of the cross with Jesus on it, the butcher shop view of his body and the perverse happiness of the Romans in charge of the scourging. What is seen in physical suffering offers no spiritual transcendence because the violence just takes over, giving blood and guts the primary role. But as torture and cruelty exist worldwide, even more harrowing and horrifying in many cases, one (most likely delusional) hope would be that audiences could come away from this film with the idea that no one deserves this. The performances in the film are a mixed bag. As Jesus, James Caviezel doesn't give a very nuanced interpretation. Because he's covered with blood or being tortured for most of the film he represents a body more than a soul and in flashback scenes he simply doesn't connect to the man-God being tortured. Maia Morgenstern's performance as Mary is the most powerful in the film. Her gaze penetrates and instantly conveys heartbreak and loss, especially in the scene where she runs towards her son. While casting the beautiful Monica Belluci as Mary Magdalene is an excellent choice, she's given little more to do than cry. Special effects and music detract more than they underline the film's basic themes. The soundtrack is little more than a blatant rip off of Peter Gabriel's masterful soundtrack of The Last Temptation of Christ. Scenes like the devil being sent to the swirling depths of hell, God's tear causing an earthquake and Jesus emerging from the cave a la Schwarzenegger in the Terminator all propel the film into an action movie in 2004 and make us wonder if Michael Bay was at all involved in the production of this film.. For those expecting an easy "religious" experience at the movies, it's there. A more viscous than visceral film, those hoping for brilliance will be disappointed. But the film and its cloud of controversy is most useful to marketing students.
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