Making Films About the Messiah Remains Controversial if He's Called Jesus Christ
At least when the creators deviate from the accepted portrayal.
The representation of religious and mythological characters in films remains a sensitive issue, as different cultures interpret these figures in varied ways. While the Marvel universe takes a unique approach to the gods of Norse mythology, with no outcry in Norway over Loki being portrayed as a bisexual modern entity, the situation is markedly different with Jesus, the central figure of Christian culture and one of the most well-known and influential personalities in world history. Most scholars agree that Jesus did indeed exist, though opinions vary on the legends surrounding him. The mainstream Christian belief is in the Trinity: God the Father, the Son, and the Holy Spirit.
Most cinematic depictions of Jesus do not cross interpretation boundaries, presenting his life from a specific perspective. The 1977 miniseries "Jesus of Nazareth," with Robert Powell's powerful performance, depicted Jesus' life based on Christian religious convictions, in contrast to the 2007 film "The Messiah" by Iranian filmmaker Nader Talebzadeh, which told the story of Jesus from a Muslim perspective.
Such works invariably offend someone. One of the most famous examples is Martin Scorsese's "The Last Temptation of Christ" (1988), which faced multiple attempts by the Catholic Church to prevent its release. "Every moment of Christ's life was a conflict and a victory. He triumphed over the irresistible allure of ordinary human pleasures, over temptations, and continuously transformed his body into spirit, reaching exaltation. He ascended to the peak of Golgotha and was crucify. This book is not a biography, but a declaration of faith for every struggler," wrote Nikos Kazantzakis, author of the book that inspired Paul Schrader's screenplay. The work vividly brings Christ's life to light: chosen by God to deliver His message to the people, yet facing a real dilemma on Golgotha, starting with devil's final temptation of Jesus with the comforts and joys of human life. Denying God instead of enduring crucifixion would free him from suffering.
Many found the portrayal of this dilemma offensive, despite it being clear that the work aimed to be ambitious rather than provocative. Similar misunderstanding met Mel Gibson's 2004 direction "The Passion of the Christ," which reenacts the last twelve hours of Jesus Christ's earthly existence, drawing from the four Gospels and the book "The Dolorous Passion of Our Lord Jesus Christ" according to the visions of Anne Catherine Emmerich by Clemens Brentano. Critics argued Gibson’s portrayal exaggerated the characters responsible for Jesus' demise, with some suggesting hidden antisemitic messages, especially given the film's brutality contrasted with the core message of Jesus about love and compassion. Nevertheless, the film remains one of the most debated in film history, with a sequel set to release in 2025.
The main issue is the varied interpretations of Jesus Christ. As Sartre noted, "Antisemitism is in a pitiable plight: it needs the enemy it wants to destroy," highlighting the campaign of defamation that accompanies any widely accepted film or play promoting the gospel. This was the case in 1974 with the premiere of "Jesus Christ Superstar" on Broadway, where leaflets branded the Weber musical as antisemitic, claiming it would force American Jews to flee the United States. Ironically, the 1973 film adaptation directed by Norman Jewison, featuring one of the most controversial portrayals of Jesus by Ted Neeley, became perhaps the most screened Jesus adaptation, with its musical numbers living on independently.
Interestingly, when the messiah goes by another name, such as in Frank Herbert's Dune universe, which envisions a feudal structured future governed by Padishah Emperor Shaddam IV and dominated by great noble houses. The power structure rests on three pillars: the Landsraad council of nobles (politicians), the Spacing Guild and its navigators (akin to Wall Street), and the exclusively female ancient order of the Bene Gesserit (representing major world religions), and of course, there's the spice, the universe's most valuable resource found only on the impoverished planet Arrakis. David Lynch (1984) and Denis Villeneuve (2021 and 2024) attempt to showcase Herbert’s universe, a mixture of various cultures and civilizations (Arab, Israeli, Scandinavian, Indonesian, and Latin). However, where they diverge is in their portrayal of Paul Atreides as Kwisatz Haderach, the prophesied messiah; Lynch's interpretation is fundamentally good, while the latter depicts him as a false prophet, stirring no public outrage.
Most cinematic depictions of Jesus do not cross interpretation boundaries, presenting his life from a specific perspective. The 1977 miniseries "Jesus of Nazareth," with Robert Powell's powerful performance, depicted Jesus' life based on Christian religious convictions, in contrast to the 2007 film "The Messiah" by Iranian filmmaker Nader Talebzadeh, which told the story of Jesus from a Muslim perspective.
Such works invariably offend someone. One of the most famous examples is Martin Scorsese's "The Last Temptation of Christ" (1988), which faced multiple attempts by the Catholic Church to prevent its release. "Every moment of Christ's life was a conflict and a victory. He triumphed over the irresistible allure of ordinary human pleasures, over temptations, and continuously transformed his body into spirit, reaching exaltation. He ascended to the peak of Golgotha and was crucify. This book is not a biography, but a declaration of faith for every struggler," wrote Nikos Kazantzakis, author of the book that inspired Paul Schrader's screenplay. The work vividly brings Christ's life to light: chosen by God to deliver His message to the people, yet facing a real dilemma on Golgotha, starting with devil's final temptation of Jesus with the comforts and joys of human life. Denying God instead of enduring crucifixion would free him from suffering.
Many found the portrayal of this dilemma offensive, despite it being clear that the work aimed to be ambitious rather than provocative. Similar misunderstanding met Mel Gibson's 2004 direction "The Passion of the Christ," which reenacts the last twelve hours of Jesus Christ's earthly existence, drawing from the four Gospels and the book "The Dolorous Passion of Our Lord Jesus Christ" according to the visions of Anne Catherine Emmerich by Clemens Brentano. Critics argued Gibson’s portrayal exaggerated the characters responsible for Jesus' demise, with some suggesting hidden antisemitic messages, especially given the film's brutality contrasted with the core message of Jesus about love and compassion. Nevertheless, the film remains one of the most debated in film history, with a sequel set to release in 2025.
The main issue is the varied interpretations of Jesus Christ. As Sartre noted, "Antisemitism is in a pitiable plight: it needs the enemy it wants to destroy," highlighting the campaign of defamation that accompanies any widely accepted film or play promoting the gospel. This was the case in 1974 with the premiere of "Jesus Christ Superstar" on Broadway, where leaflets branded the Weber musical as antisemitic, claiming it would force American Jews to flee the United States. Ironically, the 1973 film adaptation directed by Norman Jewison, featuring one of the most controversial portrayals of Jesus by Ted Neeley, became perhaps the most screened Jesus adaptation, with its musical numbers living on independently.
Interestingly, when the messiah goes by another name, such as in Frank Herbert's Dune universe, which envisions a feudal structured future governed by Padishah Emperor Shaddam IV and dominated by great noble houses. The power structure rests on three pillars: the Landsraad council of nobles (politicians), the Spacing Guild and its navigators (akin to Wall Street), and the exclusively female ancient order of the Bene Gesserit (representing major world religions), and of course, there's the spice, the universe's most valuable resource found only on the impoverished planet Arrakis. David Lynch (1984) and Denis Villeneuve (2021 and 2024) attempt to showcase Herbert’s universe, a mixture of various cultures and civilizations (Arab, Israeli, Scandinavian, Indonesian, and Latin). However, where they diverge is in their portrayal of Paul Atreides as Kwisatz Haderach, the prophesied messiah; Lynch's interpretation is fundamentally good, while the latter depicts him as a false prophet, stirring no public outrage.
Translation:
Translated by AI
