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Keep Pasolini’s Christ in Christmas
Twenty years after the biblical drama The Passion of the Christ smashed records by grossing more than $611 million worldwide its long-awaited sequel The Passion of the Christ: Resurrection is under production this Christmas season. But 2024 will be the 60th anniversary of another Gospel movie‚ one that is far more anomalous and strange than the Mel Gibson franchise‚ depicting the most riveting realization of the Messiah ever put to the screen. Irazoqui’s Messiah is not a high-minded philosopher with his head in the clouds. He’s a fault-finding firebrand spitting nails in the street.
In 1964 Pope John XXIII invited non-Catholic artists to work alongside the Vatican to create great Christian art. Inspired by the Pope’s outreach an Italian filmmaker‚ Pier Paolo Pasolini‚ an atheist and Marxist‚ who had been sentenced to jail for blasphemy only the year before‚ accepted the papal challenge. Studying all four gospels with the intention of bringing one to the screen Pasolini determined that “John was too mystical‚ Mark too vulgar‚ and Luke too sentimental.” He chose Matthew‚ the only Gospel that chronicles Herod’s slaughter of the innocents‚ a choice that would thoroughly shape his Scriptural interpretation‚ exalting the triune God as the supreme protector of children.  (READ MORE from John Singleton: Today’s Real Systemic Injustice: COVID and Our Kids)
Upending Hollywood pomp and risk-aversion with a risk-taking‚ stripped down style The Gospel According to Matthew reflects the Italian director’s desire to inflict discomfort on the comfortable adult world. Like Gibson’s Passion‚ this film skirts the studio system‚ as it clings to the old-fashioned virtues of righteousness and judgement. Using only Gospel language and elevating amateur actors to lead roles‚ the paradoxical Pasolini exchanged big Hollywood vanity and exhibitionism for a lesson in power and glory by way of lowliness and poverty. Art is made perfect in simplicity. Artifice purified by innocence. To Pasolini only the poor could achieve such spiritual heights. So he placed them front-and-center of a Biblical epic. And his gambit paid off bigly.
Once Christ arrives on the scene‚ played by 19-year old non-actor Enrique Irazoqui‚ past-and-future celluloid depictions of the Savior of the World are eviscerated. Strikingly younger than his disciples this Son of God bristles with the contempt of a petulant teenager incensed at the incompetence of the grownups in charge. Sporting a prodigious unibrow and an ample forehead he’s not Hollywood handsome. But Enrique Irazoqui as Jesus is enormously attractive and persuasive as a Messiah who is both irascible and holy‚ evoking Isaiah 53:2 “There was in him no stately bearing to make us look at him‚ nor appearance that would attract us to him.”
Beauty is not forsaken in The Gospel According to Matthew. The opening sequence includes a montage of iconic shots of the Virgin Mary that resemble fearsome frescos from the Italian Renaissance. Our Lady of the Grotto. The Virgin of the Rocks. Mother and Child. Filmed in black-and-white silence these glimpses are portraits of solitude that attract and unsettle. In splendid isolation the Mother of God ponders her fate comforted in secret by her Holy Child. Employing jump cuts as religious iconography Pasolini offers his audience an Eternal Virgin as inaccessible as his Messiah‚ who is wise and wondrous and anything but derivative. Like the casting of Christ‚ 14-year old Margherita Caruso as Mary‚ is unsurpassed in the history of movie Madonna’s‚ not because she’s a trained actress but because Pasolini adorns each frame in a poverty‚ purity‚ and pace that invites Marian devotion. Effortlessly embracing the art of visual storytelling the recalcitrant director comes to the same conclusion as the long tradition of Italian Masters before him. Mary is the most important person other than God himself ever to walk the earth. The former Marxist didn’t undertake Pope John’s challenge to overturn tradition. But to fulfill it. Despite her dearth of dialogue in Matthew’s Gospel Pasolini venerates the Blessed Mother with an abundance of screen time‚ aligning his magnum opus with the history of maternal reverence that has long differentiated and distinguished the Catholic Church.     Â
Full disclosure here. I was born in southern Italy and grew up surrounded by statues and shrines to the Eternal Virgin. My Neapolitan mama never attended school past the 2nd grade and practiced a grudging form of faith that might be called pre-Catholic. Pasolini’s primitive landscapes and harsh judgments suit me. His deference to the poor and uneducated‚ too. (READ MORE: Father Jenkins Doesn’t Seem to See the Problem)
When the disciples ask‚ “Who is the greatest in the kingdom of heaven?” Jesus answers‚ “Truly I tell you‚ unless you change and become like little children‚ you will never enter the kingdom of heaven.” In Matthew’s Gospel Jesus proclaims his guardianship over the young with menace. He goes full gangster. Surrounded by a passel of apostles‚ Irazoqui’s Christ delivers each line like a lashing‚ machine gun style‚ as the camera lingers over the Italian faces of Pasolini’s unknown actors. “If anyone causes one of these little ones to stumble‚ it would be better for them to have a millstone tied around their neck and be drowned in the sea.” Concrete boots are nothing compared to what Jesus has in store for transgressors of the innocent. Listening attentively to the invective of Irazoqui’s uncompromising standard bearer‚ the twelve disciples look like a posse of Coppola’s thugs guarding a beloved paterfamilias. For the record my mother hated Pasolini. She said his movies‚ other than The Gospel According to Matthew were infamita. It’s fitting that‚ in the end‚ the poor and lowly of Italy cast their judgment on one of their own and found him wanting.       Â
Much has been made of Pasolini’s atheism and Marxism‚ but in press junkets he rebuked political indoctrination. “I did not want to do that‚ I am not interested in profanations: that is just a fashion I loathe‚ it is petit bourgeois. I want to consecrate things again‚ because that is possible‚ I want to re-mythologize them.” Dedicating his film “to the dear‚ joyous‚ familiar memory of Pope John XXIII” who died prior to the release of the film Pasolini was an unlikely keeper of tradition. At another press conference in 1966 he scolded the media for their fixation on his unbelief. “If you know that I am an unbeliever‚ then you know me better than I do myself. I may be an unbeliever‚ but I am an unbeliever who has a nostalgia for a belief.” In carrying out the work of salvation God raises champions of his own choosing.Â
Defying the rules of mainstream moviemaking Pasolini placed huge bets on his youthful cast’s ability to proclaim the Gospel message simply by their presence. In crowd scenes children are focus not filler. Angels stand watch over gangs of roughhousing boys in the streets of Bethlehem. Children shadow and pester the wise men as they arrive at the manger. Children are the first to enter God’s temple after Jesus has cleansed it.
When Herod’s massacre of the innocents occurs on screen it illuminates an age-old enmity recalling the famous line from Revelation 12. “The dragon stood before the woman who was about to give birth‚ so that it might devour her child the moment he was born.” Tyrannical powers are always inimical to those succeeding generations poised to unseat them. On his triumphant donkey ride into Jerusalem‚ as the crowd presses Him from every side‚ the Savior of the World casually cups the brow of a blond-haired baby in subtle blessing. If you blink you’ll miss it. Many reach for Jesus. Only an innocent babe obtains his loving touch. It’s a glancing no-look gesture that prioritizes the primacy of children in Pasolini’s Gospel rendering.Â
Despite the family friendly feeling‚ approachability is not the point of The Gospel According to Matthew. Staged like terrifying works of art there are shots of the Son of God that agitate and appall. Waiting for Satan in a stark desert setting Christ prays so profoundly it looks as if he’s kneeling at the bottom of the sea. Palms skyward his posture projects an unexpected vibe — aggression — as he anticipates the arrival of a deranged and defeated foe. When the devil finally shows his face he’s a thick-tongued lightweight compared to Irazoqui’s vigorous‚ thin-skinned Christ. Walking on the Sea of Galilee is played like a horror sequence without special effect. Draped in shadow Christ advances across the water toward the open boat like an angel of death. Frightened at the approaching phantom his disciples scramble for safety‚ but Pasolini affords them no quarter. Perhaps‚ the atheist director was familiar with Philippians 2:12‚ “When you contemplate your salvation do it in fear and trembling.” (READ MORE: Raising Hares at Mount St. Mary’s University)
Playing his protagonist like a stranger on the edge of town‚ more than a small town boy with no place to rest his head‚ Pasolini gives us the Jesus that the Pharisees marked for death. Irazoqui’s Messiah is not a high-minded philosopher with his head in the clouds. He’s a fault-finding firebrand spitting nails in the street. Because of the daring of a director with pronounced personal flaws‚ who was ultimately murdered soliciting prostitution in 1975‚ we have been gifted an unlikely screen Gospel that will never be duplicated. Big studio Hollywood can’t bow low enough. It’s no coincidence that the two best films about the life of Christ‚ Gibson’s Passion and Pasolini’s tour de force‚ were made by outsiders at odds with the studio system. Despite the bottom-up nature of the Jesus revolution‚ The Gospel According to Matthew clings to the hierarchical qualities of righteousness and judgment‚ refusing to sacrifice the life of Christ at the altar of accessibility. Â
John Singleton is the author of The Meaning of Mount St. Mary’s a new book that makes the case that the Emmitsburg‚ Maryland college is the “Mother of Catholic Education in the United States.”Â
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