Posted on 06/13/2003 4:27:35 PM PDT by truthandlife
Mel Gibson has made a career out of playing passionate characters. William Wallace had a passion for freedom that revolutionized his country in "Braveheart." Benjamin Martin heroically defended his family and his country in "The Patriot." Lt. Colonel Hal Moore was fiercely dedicated to bringing every soldier home in "We Were Soldiers." And even Rocky Rhodes, had a passion to free his flightless flock in "Chicken Run." So its not surprising that Gibson's latest project is to bring his deepest passion to the screen.
As a bankable superstar who can be selective about the roles he takes or the movies he directs, Gibson could easily "play it safe" to maintain his popular appeal. But playing it safe isn't how Gibson rose to the top. This time the director has chosen a subject dear to his heart and one that he knows will undoubtedly be viewed as "controversial."
The director of "Man Without a Face" and the Oscar-winning "Braveheart" has chosen to direct a story about the final hours of Christ's suffering for mankind. His script, "The Passion," will primarily focus on the betrayal, trial and death of Jesus, culminating with his graphic crucifixion and resurrection from the tomb. In truth, the way Gibson has chosen to tell his story is unique and downright daring. The entire language of the film will be in Aramaic and Latin. Gibson is ardent about this point, "It will lend even more authenticity and realism to it." For those of you who haven't quite mastered the Aramaic language and assume there will be subtitles, here's the part that requires your faith -- no subtitles. In what could arguably be called either 'career suicide' or 'creative genius', Gibson has once again defied all Hollywood logic.
The obvious question is why? Why would Mel Gibson of all people make a movie about Jesus in a dead language that no one can understand or read? Unabashed, Gibson is confident with his decision. "Hopefully, I'll be able to transcend the language barriers with my visual storytelling; if I fail, I fail, but at least it'll be a monumental failure." And why does he feel so strongly about not using subtitles? "It would somehow spoil the effect that I want to achieve; it would alienate you and you'd be very aware that you were watching a film if you saw lettering coming up on the bottom of it … and I want to present it in a way that is completely real."
According to Entertainment Weekly, Gibson (47) is the third most powerful man in the entertainment business (behind Tom Hanks and Steven Spielberg). With that position there tends to be a natural assumption that studios would be lining up to promote whatever project Gibson wants to do, right? Gibson reports they were less than thrilled. "My partners and I went searching for a studio to attach to the project, but no one would touch it." He smiles when he states, "They all said, 'Are you crazy? Why are you doing a Jesus movie in Aramaic?' Obviously, nobody wants to touch something filmed in two dead languages, but I understand, because I would have rejected me too if I heard my pitch." It's a response and a rejection Gibson has learned to live with.
Together with his Icon partners/producers Bruce Davey and Steve McEveety, the team began the enormous task of bringing Gibson's 10-year "labor of love" to reality. Gibson wrote his script with Ben Fitzgerald ("Wise Blood") using scripture taken directly from the Gospels of Matthew, Mark, Luke and John, or as Gibson likes to refer to them, "four obscure writers." He also used research from an old book in his library, "The Dolorous Passion," by Anne Catherine Emmerich. It was a book he never knew he had until he reached for another book, and it literally fell into his hands. After years of writing, reworking the script and waiting for the right timing, Gibson was ready to make his ode to Christ.
"The Passion" stars Jim Caviezel ("The Count of Monte Cristo", "Frequency") as Jesus, Romanian actress Maia Morgenstern ("Procust's Bed") as his mother Mary, and Italian beauty Monica Bellucci ("Matrix Reloaded", "Tears of the Sun") as Mary Magdalene. For obvious reasons Gibson had to look outside the Holy Land for a location and found what he was looking for in Italy. "I chose Italy because so many people love it, and it's a great country to work in. It's also a big melting pot and has a huge and diverse talent pool." The crucifixion scenes were filmed in a beautiful city in southern Italy called Matera, in which Pier Paolo Pasolini used the outskirts of the city to film his movie, "The Gospel According to St. Matthew" (1964). "Certain sections of the city are 2,000 years old: the architecture, the blocks of stone and the surrounding areas and rocky terrain added a vista and backdrop that we actually borrowed to create the backdrops for our lavish sets of Jerusalem. We relied heavily on the look that was there. In fact, the first time I saw it, I just went crazy because it was so perfect."
On the outskirts of Rome, past the ancient ruins of the Roman Baths of Caracalla and the Catacombs, are the legendary Cinecitta studios. On the back lot, directly across from the decaying wooden sidewalks and faded storefront facades of Martin Scorsese's "Gangs of New York," sits the city of Jerusalem -- or at least a 2 ½ acre scaled-down replication of it. Gibson has created a massive set, complete with a temple, courtyard, a Praetorium, Pilate's Palace and various smaller sets. It is a breathtaking spectacle of biblical proportions: giant columns, flights of stone steps, massive wooden doors, weathered Roman emblems, vendor's canopies and pottery, replicating the architecture of an ancient world.
Inside the temple walls smoke fills the air, as a hue of gold washes the room where a cast and crew of hundreds wait for direction, as if posing for a painting. The handcrafted costumes are designed by the award-winning Maurizio Millenotti who paints the crowd like a detailed backdrop in various shades of beige, brown and black. Every beard, hairpiece and braid looks real because a team of expert makeup and hair artists have custom fit each person. The massive sets are intricately designed by Production Designer Francesco Frigeri and Decorator Carlo Gervasi. And the special effects (SPFX) makeup and hair department were flown in from Los Angeles because of their unique ability to create what Gibson needed for the flagellation and crucifixion scenes. Many others contribute their talents to create Gibson's biblical world. Gibson has spared no expense in bringing this visual masterpiece to the big screen and it shows.Capturing a period piece of this magnitude requires a technical artist who can paint with light. Although the timeline only reflects the last 12 hours of Christ's life and more pointedly his crucifixion, it is crucial that the story look realistic and not, as Gibson puts it, "like a cheesy Hollywood epic." Gibson knew he would have to create a visual testimony to one of the most inhumane acts ever committed. Every frame showing the face of Jesus would have to carry visual impact. Gibson looked no further than his friend, Cinematographer Caleb Deschanel.
Gibson and Deschanel took their mutual vision of how they wanted this film to look and translated their collaborative art form on screen. Deschanel uses the light that warms every frame in the Renaissance style, inspired by the artist Caravaggio. Gibson explains, "The only reason anyone knows anything about this guy is from prison records, because he was a wild man, a rabble rouser. But I think his work is beautiful. I mean it's violent, it's dark, it's spiritual and it also has an odd whimsy or strangeness to it. And it's so real looking. I told Caleb I wanted my movie to look like that and he said, 'Yeah, okay.' Just like that. He's so casual about this stuff." With 40 percent of his film shot at night or indoors in a dark environment, Gibson was surprised when he saw his first dailies; "I said, "Oh my God. It's a moving Caravaggio!' And he went, 'Well that's what you asked for isn't it?'" Gibson chuckles in awe, "He just said it so casually; he just casually tossed that over."
Gibson brags on Deschanel's talents. "This man is a gifted cinematographer, who's probably in the top bracket, right there at the pinnacle with a handful of others." Deschanel has accumulated an impressive body of work ("The Black Stallion", "The Right Stuff", "The Natural", "Fly Away Home", "Message in a Bottle", "The Patriot"), full of techniques that exemplify the approach Gibson wanted for his film. "He's amazing and very talented. I feel so fortunate to have someone like him to present the images that I want, the way I want them. But even more than the way I want them, you know? Because he's there, his creativity is there. His own taste and vision is there. And man I need all the help I can get!"
As serious and focused as Gibson is about this movie, he still maintains a sense of humor and affable demeanor on and off the set. He's a superstar without a super attitude, treating cast and crew with kindness and respect. Gibson's known for his practical jokes and knowingly creates a relaxed atmosphere in which his actors and crew can thrive. Daily he tells jokes, talks with the crew, dons a red clown nose, occasionally makes burping noises through his bullhorn and has more energy than a teenager. On the surface it would be easy to misdiagnose his exuberance as hyperactivity, but in truth, he simply loves what he's doing. "The performances I'm getting out of Jim, Maia and Monica -- they knock my socks off! And you should see the guy who plays Judas; he's doing an incredible job and the guards -- they're very scary people. There's not a bad performance in my cast. It's amazing."
The cast and crew are comprised of an international group from Romania, Algeria, Tunisia, Bulgaria and Israel, as well as Italy, the U.S. and other countries. Gibson is proud of the harmony. "We have a cast and crew comprised of different races and religions -- Muslims, Jews, Christians, Buddhists, even Agnostics. And all are working together on this thing in perfect harmony and in fact, they're all getting something out of it. People have been touched and even changed by the experience." Gibson marvels at how close his international cast have become because they all have to speak the same language on set. "To actually bring them all in this one place where they have to speak the same language puts them in a world that's real to them; they have a knowledge that's real and meaningful to them. Speaking the one language of Aramaic has given them a commonality and a sense that they all share the same connection. They oughta let us run the United Nations because it's been harmonious in every way," he says half seriously.
What's particularly interesting is the way God seems to be working in incredible ways through miraculous situations on the set. "There is an interesting power in the script," Gibson notes. "There have been a lot of unusual things happening on this set, good things like people being healed of diseases, a couple of people have had sight and hearing restored, another guy was struck by lightning while we were filming the crucifixion scene and he just got up and walked away. There was even a little six-year-old girl (the daughter of a person connected with the crew) who had epilepsy since she was born and had up to 50 epileptic fits a day. She's doesn't have them anymore for over a month now." He marvels at how this movie has effected or touched most of the cast in some deep and personal way. "And they really give you a lot of hope. It's like wow! I mean, we're not kidding around about this. It's really happening."
Francesco De Vito (Peter) shared what this experience has done for him. "I talk with Judas (Luca Lionello) and with John (Hristo Jivkov); we talk about this movie and we talk about faith on the set and in our life and there is something going on with many of us. We've become very focused. It has changed us." Vera Mitchell is the personal stylist for Caviezel and is a Buddhist. "There's a pride that all of us have because we realize we are working on an important movie that could change a lot of lives."
To portray the most famous man that ever lived requires an actor who is confident, controlled and can radiate a look of mercy, love and forgiveness through his eyes, without ever opening his mouth. Gibson knew Jim Caviezel could convey those qualities. "Last year when Mel asked me to play the part I said to him, 'Do you realize I'm 33 years old, the same age Jesus was when he went through all of this?'" The tall, soft-spoken actor with piercing blue eyes that seemingly penetrate your thoughts with just a glance, first gained critical acclaim in "The Thin Red Line", then went on to make films featuring him in leading roles like "Frequency", "Angel Eyes" and "The Count of Monte Cristo." Leonard Maltin, film historian and entertainment host for the movie show "Hot Picks" thinks Caviezel's perfect for the role. "There's always a question of whether it's an asset or distraction to have well known stars in key roles but that's why Jim is a great choice. He's a very earnest and sincere actor and he's not a 'personality' with a lot of baggage from other parts that he's played."
On an average day Caviezel goes through an arduous makeup session that lasts anywhere from 4 to 7 hours, miraculously transforming his clean-shaven face and partly shaved head into a believable image of Jesus. Even Gibson was amazed one day when he saw him on camera, "He looks like the Shroud of Turin!" Caviezel's says his performance is inspired. "Truthfully, it was never up to me." He humbly continues, "My answer was always that I'm interested in letting God work through me to play this role. I believe the Holy Spirit has been leading me in the right direction and to get away from my own physical flesh and allow the character of Jesus to be played out the way God wants it -- that's all I can do." Is Aramaic an intimidating language to learn? "Sure it is. But I asked God to help me and I was able to learn it in a quick amount of time, more than I normally am able to learn things."
The devoutly Catholic Caviezel takes his role seriously, often praying and softly quoting scripture while in character. But there's a lighter, funny side to him (he can sing a dead-on imitation of Bing Crosby) as well as a very patient one. He laments about the trials and tribulations of playing the "Son of God." "I endured freezing winds that almost blew my cross off the cliff while I was on it! Seriously! I felt it sway back and forth, and I knew it was going to blow over." He can now chuckle about his experience, but it went on for a couple of weeks, "To make matters worse, they had me up there, and it was freezing cold the first day. And we were there without a heater and of course, I don't have many clothes on the cross, so my body was going numb. It was freezing."
Were there any other horror stories or was that the worst of his ordeal? "I was spit on, beaten, and I carried my cross for days over and over the same road; it was brutal." When asked about the makeup and special effects for his crucifixion scenes he winces, "I have a 2:00 a.m. call time to get skin and makeup put on for the flagellation and crucifixion scenes, so I'm here long before the rest of the cast and crew. But you know what? I consider all of it worth it to play this role; it's that important to me."
In addition to spending 15 days filming on the cross, Caviezel was scourged and whipped in chains and ropes. "Mel likes to put violence in his movies. But the fact is, they represent truth. That's all Mel cares about is making it look true to the text. No time has a film of our Lord ever been shown like this one. Believe me when I say this to you, when people get to the crucifixion scene, by that time I believe there will be many who can't take it and will have to walk out. I guarantee it. And I believe there will be many who will stay and be drawn to the truth."
The SPFX team of makeup artists and technicians were challenged to devise new ways of creating realistic crucifixion and flagellation scenes. They also devised a never-been-done-before technique of showing the nails being driven into Christ's hands. And yes, it looks real. Keith Vanderlaan, the SPFX makeup producer did extensive research on actual crucifixions and studied what specifically went on, then improvised with his own techniques. The graphic flesh wounds, scars, ribs protruding from his chest and even the nails being driven into his hands have never been tried before now, but all work together to give the movie a realistic look and feel. This realism is what Gibson wants because he knows all too well how that impact will affect his audience.
The violence in "The Passion" is what everyone seems to be talking about these days. Although Gibson feels apologetic for what Caviezel had to go through, ("I know Jim suffered, he separated his left shoulder and was in a lot of pain and discomfort, but he was very patient during the whole thing"), he maintains that giving a graphic depiction of what Jesus went through before and during the time he hung on the cross is what makes his portrayal realistic. "This is an event that actually happened. It occurred. I'm exploring it this way, I think, to show the extent of the sacrifice willingly taken by Jesus -- the price he paid that is as much a part of what Jesus went through as the resurrection."
Though the primary focus is on the last 12 hours Christ spent on this earth, Gibson has added other scenes to familiarize audiences with Jesus' life and ministry. "Some of this is hard stuff. You can't just go straight through and torture a guy for 90 minutes." Gibson explains that he'll use other scenes. "Like when he's falling on the cross, Mary will flash back to when Jesus was a boy and fell down. I'm adding bits and pieces of The Last Supper and Jesus washing the apostles' feet and other scenes, so emotionally I think flashbacks like that can really work and hopefully it will all gel together."
Will people who perhaps don't know the story of Christ be able to gather who he was and what his ministry was about from this movie? "I think it demands a certain knowledge of the story which I think many people have, but this is a slightly different way of telling it and I think it's more poignant for that reason and then you don't have to go through the entire Gospel. I mean it's impossible to do all of his work on film -- just dealing with the last twelve hours is a handful I'll tell you!"
The fact that Gibson's Jerusalem stands juxtaposed against Scorsese's old "Gangs" set is an interesting irony. Scorsese was the last director to have theatrically released a movie about Jesus with his controversial, "The Last Temptation of Christ" (1988) in which Scorsese based his version of Christ's last days on Nikos Kazantzakis' novel of the same name, not on the Gospels. Although the press continually try to compare the two, quite frankly there is no comparison.
"I've taken a totally different approach altogether, why would I want to do anything that's been done before? Besides, I never saw the movie so I don't know how different it is." Gibson has taken his text directly from the Bible. There are no sexual undertones implied between Jesus and Mary Magdalene (as in Scorcese's film) nor liberties taken with the story that could cause any concern for the religious community. In other words, the church can trust the fact that Gibson is presenting a biblical interpretation.
It would be easy to assume that Gibson's movie will be simply another "sterilized religious epic" like some of the ones Hollywood has churned out since the Cecil B. DeMille days, but Gibson wants to make it clear that it's not. "I'm trying to access the story on a very personal level and trying to be very real about it. I'm doing it in a realistic manner so that it doesn't suffer from the traps of a lot of biblical epics, which quite frankly, suffer from either being too corny, or laughable, or have bad hair or really bad music." All that fans of Gibson's early career have to do is recall what he did with "Braveheart" and expect the same realistic approach. Visual images graphically depicting the bloody violence of the crucifixion and a uniquely creative interpretation of how Satan and his demons tormented Christ.
Does our popular culture still have an appetite for those old biblical epics? Leonard Maltin thinks so. "People respond to the worst of the old biblical epics because they were done perfunctorily and the best ones were done with great conviction and sincerity. I mean, who would have thought that a gladiator movie would have been relevant to the modern day audience? Every year they trot out the "Ten Commandments" on Easter Sunday, and it's almost 50 years old. It was corny then, in the best Cecil B. DeMille tradition, as it is now, but it is wonderful storytelling and it's an entertaining movie." Is there room for Gibson's version? "There's always room for another movie about Jesus from a specific point of view and there are so many stories other than the last days of Christ that could be told. One thing is very clear, Gibson knows what his purpose is in doing a film of this magnitude."
Maltin brushes aside any industry or public scrutiny over Gibson's decision to use Aramaic. "His mission is indeed a passionate one and as a dedicated director, it will be deeply felt and that's the answer for anyone who asks the question 'why' about the box office or Mel using Aramaic. It will be deeply felt. When Mel makes a commitment to his films, he's very passionate about it. So the fact that he felt ready about this movie at this particular time is a sign that he was ready and I look forward to seeing "The Passion"
Gibson is best known for action heroes and romantic leads, but it's his recent role as a priest in "Signs," which may 'subliminally' prepare audiences to accept his spiritual side. "I wasn't exactly the most zealous keeper-of-the-flame, you know? I was a pretty wild boy quite frankly. Even now when I'm trying more than I was before, I still fail every day at some level but that's being human." Gibson was raised in the Catholic Church and considers himself a traditionalist who loves the Latin Mass. He is faithful to his style of worship by having a priest on set who offers a Latin Mass and confession to whomever wishes to partake of it. "When I was growing up, the whole story of the Passion was very sanitized and distant, it seemed to me very much like a fairy tale. Then from about the age of 15 to age 35, I kind of did my own thing as it were, not that I didn't believe in God, I just didn't practice faith or give it much consideration. I went through that period in my life where you put a lot of other things first. So coming back 20 years later it seemed so distant, you know? I had to reconsider and say to myself, now hang on a minute, this isn't a fairy tale and this actually happened. This is real. And that started me thinking about what it must have been like, what Christ went through and I started seeing it in film terms."
So why is making a movie about Jesus more risky or provocative than movies about other religious leaders like Gandhi or Buddha? Gibson answers thoughtfully, "Because it's very personal for everyone. I mean there isn't one person who hasn't been influenced in some way. Seriously, I mean everybody. Every nation and every creed has been influence by Christ in some way or another and everyone has differing opinions about who he is, what he is and why, or whether they even believe him or not. And that's the point of my film really, to show all that turmoil around him politically and with religious leaders and the people, all because he is who he is."
The significance of Aramaic being spoken in "The Passion" is that it will revisit the cross and the sacrifice Jesus made in Christ's own language. Instead of the world getting another Hollywood production of "Americanized Christianity", Gibson's movie will provide the truest form of Christ's message, without the propaganda. With powerful images and language, it will be a riveting and emotionally engaging story that will speak to most people. "A lot of people won't dig it -- not everybody's going to like it but that's okay. I'm ready for that. It's done in the right spirit and that's what counts," Mel says with assuredness.
If movies have become our master storytellers and movie theaters the pulpits of America, it's a little mind boggling how potentially influential and important Gibson's movie could possibly be. Whether Hollywood likes it or not, "The Passion" has all of the makings of a career milestone for Gibson and a religious phenomenon for the rest of the world.
"My hope is that this movie has a tremendous message of faith, hope, love, forgiveness and a message of tremendous courage and sacrifice. My hope is that it will effect people on a very profound level and somehow change them and that message is a pretty good message to be pushing right now. There's so much turmoil in the world today, on the brink of everybody at each others throats. I think usually when the world is tried in this way people usually start going back to something higher to fill a void in their souls, particularly if the earth is crying out in pain from all the suffering and fear that's inflicted by war and hatred. For me, I don't think there's a better message you could put out there, than what's in this movie."
That message is truly Mel Gibson's heart and passion.
Where exactly in the story should Hebrew be spoken? It was not the common vernacular of the Jews of the day. What prejudice are you accusing Gibson of? Please be specific instead of hiding behind inuendo.
Where are the 2 thieves?
Maybe in another shot?
Still... its a stunning thing to behold.
Does anyone know if there will be a storm rising upon the death of Jesus? (IN the movie... that is!)
I am sure they will be there in the movie. This was just a shot of the set and remember it took 15 days of filming just on the cross.
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