7 Great Performances from Jesus Movies
Movies about Jesus are often guilty of cinematic sins. They exist as vehicles to communicate more of the director’s ego than serve the tale. They continue to promote a Eurocentric image of Jesus as a man with surfer blond hair and an incongruous British accent. Too often they bland out the edgier aspects of the Jesus story to appeal to that Easter Weekend box office. But every once in a while, an actor in a story about Jesus manages to convey more than a celebrity cameo and offers a portrayal of subtlety and genuine spirituality. Here are a few who have:
James Farentino as Peter in “Jesus of Nazareth”: Farentino was primarily known as an episodic TV actor — detectives, lawyers — when he was surprisingly cast as Simon Peter in Franco Zeffirelli’s epic “Jesus of Nazareth.” With Robert Powell as a solemn, translucently-eyed Jesus (“Jesus has scary eyes,” was a comment oft-heard in classrooms where the movie was shown), viewers latched onto the earthy, soulful-eyed performance by Farentino. In Anthony Burgess’ literate script, the parable of the Prodigal Son becomes the occasion for Peter to recognize how his own arrogance has blinded him to the humanity of others. When he approaches Jesus in tears, saying of himself that he is just a “stupid man”, it’s quite touching, one of the most memorable moments in the canon of biblical films. It appears that Farentino had a personal life of some chaos and recklessness, and you can imagine he drew upon that history in some essential, poignantly vulnerable way.
Shoreh Aghdashloo as Elizabeth in “The Nativity Story”: Oscar Isaac and Keisha Castle-Hughes as Joseph and Mary convey gravitas in Catherine Hardwicke’s “The Nativity Story” but eventually the movie flattens out into generic Christmas card imagery, stranding them in the process. However, early in the film Mary visits her older cousin Elizabeth, and we are treated to a few minutes with the great Shoreh Aghdashloo. I bow to no one in my appreciation for Aghdashloo’s riveting, husky voice, and she’s one of those actors I will seek out no matter how worthy the project (She was terrifying in the fourth season of “24.”) In her too-few moments onscreen in “The Nativity Story”, she exudes both the weariness of a woman who has been diminished within her society and the joy of a relative who delights in a rare visit from her impoverished family. When Aghdashloo reads the words of the “Hail, Mary” as dialogue, it becomes a sonnet wrapped in velvet, uttered with sincerity and wonder. When Mary announces she has to leave Elizabeth, she and the film become poorer for it; I’d gladly have welcome an imaginative feature-length take on Elizabeth’s life instead, or at least as a sequel. With the great Shoreh Aghdashloo given space to develop a full character, imagine that: A biblical movie with a woman in the lead!
Carl Anderson as Judas in “Jesus Christ Superstar”: Carl Anderson’s Judas in Norman Jewison’s film version of “Jesus Christ Superstar” was urgent, plaintive and well, no way around it, sexy. The film itself, much like the rock opera, could be heavy-handed and clumsy in its attempts to bring a counter-cultural vibe to the gospel stories, but the songs occasionally also cut to their essence in ways “King of Kings” never did. Anderson in particular screams and pleads notes of fear and disillusionment; he’s a man who has placed too many hopes in one person and is shattered by the dissolution of their relationship. Though he had some success in recordings and TV in his later career, Anderson, like his close friend Ted Neeley, would forever be associated with their “Superstar” roles. Sadly, Anderson succumbed to leukemia when he was just 58. (Neeley is robust; he just tweeted from a production in Amsterdam).
Enrique Irazoqui as Jesus in Pasolini’s “The Gospel According to St. Matthew”: Enrique Irazoqui was a Spanish economics and literature student who was taken to Pier Paolo Pasolini’s house in Rome to deliver a speech about fighting fascism. Pasolini was so taken with Irazoqui’s ardency and youthful zeal that he asked him on the spot to play Jesus in his planned film of Matthew’s gospel. Pasolini’s vision of a wandering, impoverished preacher is realized in stark, poetic images and Irazoqui’s lack of formal training as an actor left him reciting his lines, the actual text of Matthew’s words, with the intense stare of a true believer. Irazoqui’s final moments, first on the cross and then appearing resurrected, achieve with simplicity what Mel Gibson’s “The Passion” strove so punishingly to do with thunder and blood. Enrique Irazoqui didn’t last long as an actor — just a few more films — finding fame and the whole experience alienating from his social and political goals. Where he is now may give you pause: he later became an expert on artificial intelligence and computer chess.
Barbara Hershey as Mary Magdalene in “The Last Temptation of Christ”: Scorsese’s film version of the famous novel was met with controversy and protests, primarily for a dream sequence in which Jesus imagines a life with (and making love to) Mary Magdalene. Like many other hysterias, it’s ridiculous in retrospect. Hershey gave herself over fully to the portrayal, which imagines a woman tragically conscious of the reasons behind her treatment by men and aware that the one man who sees her most clearly and lovingly will be forever out of reach. Hershey is and was a gifted, extraordinary actress, rising from the gravel garden of drive-in features like “The Baby Maker” and “Boxcar Bertha” to “Hannah and Her Sisters” and “Black Swan” (and of course, “Beaches.”) Rooney Mara will be portraying Mary Magdalene in a soon-to-be-released film.
Lothaire Bluteau as Daniel Columbe in “Jesus of Montreal”: Normally I’d steer clear of attempts to “modernize” the story of Christ and at first glance, that’s what it seems “Jesus of Montreal” is: an allegorical retelling set in late 1980s Canada. However, award-winning filmmaker Denys Arcand has more on his mind. He tells the story of Daniel, a young theater actor and director who is hired by a priest to freshen up the city’s hillside Passion Play in the hopes of reaching contemporary audiences. In the process, the director and his surrogate excavate not only authentic scholarship that give important historical context to the gospel, but also find the “gospel” that drives the modern bourgeoisie: consumerism, career advancement, selective social blindness. Actor Bluteau is alternately charming, virile, angry and bewildered, which in its own way brings a fresh take to the humanity of Jesus, even this “Jesus of Montreal”, and raises questions about the intersection of theater and religion that might have been too pretentious with another actor in the central role. The handsome Bluteau, who gave up a career in medicine for acting, went on to years of international television work, most recently in the show “Vikings.”
Eric Idle and the Monty Python troupe in “Life of Brian”: As someone who has taught about the gospels during my career, people sometimes ask my opinion about the “best” movies on the topic. I think they’re surprised when I reply that one of the most accurate is “Monty Python’s Life of Brian.” The famed comedians may have fully meant to satirize religious belief, but they sure did their homework when they set about the task. Life at the time of Jesus was full of multiple prophets claiming to be the Messiah as well as selfish and cynical people looking for novelty amidst a culture full of constant violence and suppression. Every member of the Python team has terrific moments in the film, but Idle stands out for how he can steal a scene even just by silently agreeing with the other members of the Sanhedrin. And of course, his commitment to leading “Always Look on the Bright Side of Life” while hanging on a cross is what etches that scene into comedy history (and of course, led to multiple protests and harrumphs from Christian clerics.) Years later, I was at the Hollywood Bowl when Monty Python led the audience in a rousing version of the tune, and I was led to some irreverent thoughts of my own: How often yesterday’s blasphemy becomes today’s sing-along.
