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In fact, he strikes the perfect balance, including flashbacks at pivotal moments of the film to events such as Jesus washing the disciples' feet, the Sermon on the Mount, and the Last Supper. Gibson has come under attack for focusing merely on Jesus' death, and omitting His message of love - this criticism is both unfair and ill-judged. As a film, The Passion of the Christ is excellent as a religious experience it is even better. There is also an immensely poetic moment near the film's end, in which the camera tracks the progress of a single drop of rain from miles above Golgotha, which falls as Jesus breathes His last: a teardrop from Heaven.
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For example, Peter's panicked betrayal, and subsequent horrified realisation of what he has done is handled in such a way as to move one to tears. It is moments such as these that make the film so much more than the orgy of violence its detractors claim. While she could offer him protection then, now she is powerless she weeps as the guards thrust her roughly away from her son, and so do we. She runs to His aid, and as she does so the film cuts between this, and a similar moment when Jesus was a child and fell outside the house. She emerges into His path just as He fall under the weight of the cross. As Jesus carries His cross, Mary begs John to get her closer to Him. It was also from this vein that the most powerful moment of the film sprang. It was an immensely powerful reminder that for all He was the Son of God, Jesus was also the son of an ordinary woman, who He loved as any child loves its mother. One flashback, found nowhere in the Bible, details the mundane routine of Jesus being called in from carpentry by His mother to eat. One of the themes of the story emphasised by the film is the bond between Jesus and Mary. Yet throughout the film she maintains an almost luminescent beauty, entirely befitting the mother of God. The pain she conveys through her large and expressive eyes is heart-breaking, as she is forced to watch her child endure the most unimaginable suffering. The performance that really stood out was that of Maia Morgenstern as Mary. Despite these handicaps Caviezel delivers a performance of great emotional depth, embodying quiet nobility and sacrifice. As Jesus, James Caviezel has the immense task of embodying the most important figure in human history, and often doing so with little dialogue, and one eye swollen shut. Huge credit must go to the cast for mastering the language, and employing it in such universally excellent performances. On another, it forced Gibson and his team into a very visual form of storytelling even amongst the carnage there are shots of aching beauty. On one level it unites an international cast, sparing us any clashing accents, and gives the film a greater sense of authenticity. Its dialogue is entirely in Latin and Aramaic, with English subtitles, a remarkably bold decision by Gibson, and one that pays dividends. For those few still unaware, the film details the last twelve hours in the life of Christ.
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Even now, weeks later, re-examining it in detail is still deeply affecting. It took me two viewings to really get a grip on it, so intense were the emotions it provoked in me.
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I eventually decided, however, that whether I really wanted to or not, this was a film I needed to see. It had been my intention to since Mel Gibson first announced the project, but endless reports of the film's unflinching brutality made me fear it might be too much to bear. It took me a long while to decide whether to see The Passion of the Christ.