Latin fills all of the footage, with no subtitles in a few places. The effect is indeed as Mel said. This film does not need subtitles or dialogue at all. The visual impact and the sense of oppression brought by religious entry points are enough.
The film was shot in a small village on the outskirts of Italy. The production team spent ten weeks exploring the cave, studying the clothing and living of the Jewish Romans, and trying to restore the reality to the greatest extent possible. Mel said he had been working on the film for ten years. See it as faith. When belief is embodied and made available for viewing, it is inevitable that it will be desecrated. The first impression of the viewer is the same. This may have been the reason why people were concerned when they first learned that The Passion was going to be made into a film. The major theater chains are reluctant to take risks with Mel. The Jews were tacitly aware of each other. Racists and opportunists are gearing up. From manuscripts, scripts, to preparatory funds, various social attacks and hardships. If it's just courage and impulse, I don't believe there can be such a huge system. Mel's faith poured into those 127 minutes, at least sincere. Emotions are often the simplest parts that resonate the most.
The story describes the most painful 24 hours Jesus was on earth as a human after the Last Supper. The story of how Yahweh was betrayed by Judas in the city of Jerusalem, faced with Satan and human beings attacking him left and right, how he was tortured by himself, and was finally nailed to the cross by the Romans, his opponent of the Pharisees.
There is no large-scale and magnificent music to set off in the film, or the scenery of various skin and flesh on James' body, and the calm face conceals the light of many other elements. Monica Soy Sauce is a bit playful, but it's a bit unsatisfactory. Throughout the whole article, there is only a little bit of coquettish coquettishness on the small page of obeying the Lord. Mel's gimmick has ulterior motives. Passion fought a victorious battle of the heart for the halo of graceful religion. This innate superiority has really become the shackles of acquired development. It's like a baby who is only 1.2 meters long. It's awkward to look at people who are not developing.
From "The Faceless Man" and "Braveheart" to "The Passion of the Christ", Mel is a conservative, always splashing in the circle of public opinion, such as the interspersed bloody images of Jesus and warm memories, and Little Rome's metamorphosis, when it comes to the key points without piercing the pain, must not be incisive, which also makes his objectivity. But if you don't go crazy, you can't become a devil. If you take a step back and fail, you will become benevolent. Mel said this deeply.
If you put aside the big background, you can basically sum up everything in three words Hollywood. The narrative method, interspersed with dots and lines, is based on the 24-hour crucifixion, and the same scene is set to let the memory of Jesus lead the story to reverse. The bloody and cruel environment makes the warmth even more warm. The lens is actually relatively simple, epic biography, various high-angle shooting, panoramic close-up desperately. What I want is this kind of solemn and persevering atmosphere that everyone is so stunned that they don't speak. Has a very dedicated attitude to the setting of the scene. The combination of lyrical music and violence is touching. In contrast, some of the memoirs are more impressive after viewing, perhaps due to violent visual fatigue. For example, at the Last Supper, the clean Jehovah in the light and shadow effect gave his so-called body to his friends to eat. The light penetrating in the side shot gives a depressing hope. Jesus is the way, and his blood washes away the sins of his friends. There are also several subjective empty shots of Jesus in a coma. The unbridled laughter fades out, the low cello or ethereal music sounds, the weary breath of Jehovah is like a rhythm, and the film’s dark main tone, several groups of empty shots in the past seem to want to speak The wise men stop, then the panorama cuts back, the clutter of the mob and the echoes of the laughter of the Romans, such strong contrasts are used over and over again.
Taking the background back, the film's objectivity to history is comforting. After watching a lot of time travel, watching the film after Ye Shi has a feeling of competing with the director and screenwriter. Historical films are still good without judgment. It can be restored for a period of time in the way of sound and picture, and the simplest event itself is even more awe-inspiring. Excessive exaggeration or individualism always leads to all kinds of disagreements. In the Passion, God incarnated into a human, and the human killed God. Judas' betrayal and fear of sin, the final decision of the Romans, the anger of the Pharisees due to fear, the prayer of Jesus... Those 24 hours in 2004 can't be experienced by anyone. So Mel gave us a work, not a lead. The Passion recalls a heroic story, not a hero. It makes me happy.
The other foolish recommendations are only the violent scenes of all kinds of flesh and blood, and the heavy mouth index is four stars. Although the violence under the sacred shadow cannot be compared with the forbidden film, it can indeed bring the excitement of giving up.
The final pleasure comes from three piercing shots, such as the teleportation of blood stains and the real hands of the actors, such as the clown jumping on the beam and giving up.
There is no need to say much about religious intentions. The self who believes in the present must be sacred and inviolable, no matter what you believe in.
It's like someone said it was a film that Mel made of himself.
So what?
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