The Gospel According to Matthew (Italian: Il vangelo secondo Matteo ) is Italian in 1964 a biopic drama directed by Pier Paolo Pasolini. This is a cinematic appearance of the story of Jesus Christ according to the Gospel of Saint Matthew, from Nativity through the Resurrection. In 2015, the Vatican City newspaper L'Osservatore Romano called it the best film about Christ ever made.
This dialogue is taken directly from Matthew's Gospel, because Pasolini feels that "the image never reaches the text's poetic height." He is reportedly choosing Matthew's Gospel over others because he has decided that "John is too mystical, Mark is too vulgar, and Lukas is too sentimental."
Video The Gospel According to St. Matthew (film)
Plot
In Palestine during the Roman Empire, Jesus of Nazareth traveled the country with his disciples, healing the blind, raising the dead, casting out demons and proclaiming the coming of the Kingdom of God and the salvation of Israel. He claimed to be the Son of God and therefore, the Messiah prophesied by Israel, which brought him into direct confrontation with the leaders of the Jewish temple. He was arrested, handed over to the Romans and charged with incitement against a Roman state that he was found not guilty by the Roman governor of Palestine, but, however, was still crucified on the orders of the Temple leaders. He rose from the dead after three days.
Maps The Gospel According to St. Matthew (film)
Cast
Production
Background and pre-production
In 1963, the figure of Christ appeared in the short film Pier Paolo Pasolini La ricotta , included in the omnibus film RoGoPaG , which caused controversy and imprisonment for allegedly blasphemy. and lewd content in the movie. According to the book Barth David Schwartz Pasolini Requiem (1992), the impulse for the film took place in 1962. Pasolini has accepted Pope John XXIII's invitation for a new dialogue with non-Catholic artists, and then visits the city of Assisi to attend seminars at the Franciscan monastery there. The papal visit caused traffic congestion in the city, leaving Pasolini confined to his hotel room; there, he found a copy of the New Testament. Pasolini reads the four Gospels directly, and he claims that adapting a movie from one of them "throws in shadows all other ideas for the work I have in my head." Unlike previous cinematic depictions of the life of Jesus, the Pasolini film does not exaggerate the biblical record with any literary or dramatic discoveries, nor does it present a mixture of the four Gospels (the next films that will stick as close as possible to one gospel story to year 1979). Jesus , based on the Gospel of Luke, and 2003 is the Gospel of John ). Pasolini stated that he decided to "rebuild the Gospel by analogy" and the rare dialogue of the film all came directly from the Bible.
Given Pasolini's famous reputation as an atheist, a homosexual, and a Marxist, the respectful nature of the film came as a surprise, especially after the controversy of La ricotta. At a press conference in 1966, Pasolini was asked why he, a Gentile, had made a film about religious themes; the response is, "If you know that I am an unbeliever, then you know me better than myself, I may be an unbeliever, but I am an unbeliever who has nostalgia for a belief." Therefore, he set his critics on the basis of mere religious concern, for the role assumed by the Church, the organization, for centuries.
Regarding the idea of ​​analogy, Pasolini stressed his intention not to reproduce exactly a historic and relaxed Christ, but to project the present south of Italy into that figure, a Christ after 2,000 years of narrative accumulation. As he explained,
Along with this method of reconstruction by analogy, we find the idea of ​​myth and epos [...] so that when it tells the history of Christ, I do not reconstruct Christ as it really is. If I reconstruct the history of Christ as it is, I will not make a religious film, because I am not a believer. I do not think that Christ is the son of God. I would make a positivist or Marxist reconstruction if any, so in the best cases, the life of one of the five or six thousand saints who preached at that time in Palestine. However, I do not want to do that, I am not interested in pollution: it is just a mode that I hate, it is petit bourgeois. I want to sanctify something again, because it is possible, I want to christologize again. I do not want to reconstruct the life of Christ as it really is, I want to make the history of Christ a two thousand years old Christian version, because this is the two thousand years of Christian history that has memonologikan this biography, one such would be almost insignificant if not. My film is the life of Christ after two thousand years of the story of the life of Christ. That's what I had in mind.
The film is dedicated to John XXIII. The announcement on the opening credits reads that it is "dedicato alla cara, lieta, familiare memoria di Giovanni XXIII" ( "dedicated to the beautiful, joyful, intimate memories of Pope John XXIII" >). Pasolini was very critical of the new Pope Paul VI (1963), at a time when he was drawing up a storyboard to follow up the film, this time to Saint Paul. Projects scheduled for 1966-1967 have never taken off, but have advanced. Filming and style
Pasolini uses several techniques of Italian neorealism in the making of the film. Most of the actors he employed were non-professionals. Enrique Irazoqui (Jesus) is a 19-year-old economics student from Spain and a communist activist, while the rest of the main cast are locals from Barile, Matera, and Massafra, where the film was shot (Pasolini visited the Holy Land but found a inappropriate and "commercialized"). Pasolini threw his own mother, Susanna, as Jesus' old mother. The cast also includes noted intellectuals such as writers Enzo Siciliano and Alfonso Gatto, poets Natalia Ginzburg and Rodolfo Wilcock, and philosopher Giorgio Agamben. In addition to the original biblical source, Pasolini uses references to "2,000 years of painting and Christian carvings" throughout the film. The look of the characters is also eclectic and, in some cases, anachronistic, resembling artistic depictions of different eras (the costumes of Roman soldiers and Pharisees, for example, are influenced by Renaissance art, whereas the appearance of Jesus has been likened to that in Byzantine art as well as the work of expressionist Georges Rouault ). Pasolini later described the film as "the life of Christ plus 2,000 years of telling of the life of Christ."
Pasolini describes his experience filming Gospel According to Matthew very different from previous films. He states that while his shooting style in the previous movie Accattone is "respectful," when his style of shooting applied to the Bible's source was "rhetorical out.... And then when I photographed a baptism scene near Viterbo I threw all My technical preconceptions I started using the zoom, I used a new camera gesture, a new, disrespectful frame, but almost a documentary of almost classic severity with almost Godardian moments, for example in two Christ trials being shot like a verite cinema. '... The point is that... I, an unbeliever, are telling the story through the eyes of a believer.A blending on the narrative level produces a stylistic mixture. "
Music
The film's score is eclectic, from Johann Sebastian Bach (eg Mass at B Minor and St. Matthew Passion) to Odetta ("Sometimes I Feel Like a Child Without Mom"), to Blind Willie Johnson ("Dark Was the Night, Cold Was the Ground"), to the Jewish ceremonial declarations of "Col Nidre" and "Gloria" of the Congo Missa Luba. Pasolini states that all film music is sacred or religious from all parts of the world and various cultures or belief systems.
Reception
The film received mostly positive reviews from critics, including some Christian critics. Philip French called it "a glorious film," and Alexander Walker said that "it grips the historical and psychological imagination like no other religious film I've ever seen." And for all its tangible simplicity, it's visually rich and contains strange and disturbing clues a tone of Christ and his mission. "
However, some Marxist film critics wrote an unpleasant review. Oswald Stack criticized "the concessions that overturned the reactionary ideology." Responding to criticism from the far left, Pasolini admits that according to him "there are terrible moments that make me embarrassed.... The wonder of bread and fish and Christ walking on water is a disgusting Pietism." He also stated that the film was "a reaction to the compatibility of Marxism.The mystery of life and death and suffering - and especially religion... is something that the Marxists do not want to be, but this is and is always a very important question for mankind.
The Gospel According to Matthew was ranked number 10 (in 2010) and number 7 (in 2011) on Arts and Faith The Best 100 Movie Website, also on the Vatican list of 45 great movies and Great Movie list Roger Ebert.
The film currently has a 94% approval rating on the review aggregator Rotten Tomatoes, with 30 "fresh" and 2 "rotten" reviews.
Awards
At the 25th Venice International Film Festival, The Gospel According to Matthew was screened in the competition for the Golden Lion, and won the OCIC Award and the Special Prize of the Jury. On the premiere of the film, the crowd gathered to scorn Pasolini but encouraged him after the movie was over. The film then won the Grand Prize at the International Catholic Film Office.
The film was nominated for the UN Award at the 21st Academy of Film Awards.
The Gospel According to Matthew was released in the United States in 1966 and was nominated for three Academy Awards: Art Direction (Luigi Scaccianoce), Costume Design (Danilo Donati), and Score.
Alternate versions
The Region 1 DVD Release from Legend Films 2007 features an english version of the dubbed movie, in addition to the original black-and-white Italian version. (The English version is significantly shorter than the original, with a running time of 91 minutes - approximately 40 minutes shorter than the standard version.)
References
Further reading
Bart Testa, "To film the Gospel... and Advent from Theoretical People," in Patrick Rumble and Bart Testa (eds.), Pier Paolo Pasolini: Contemporary Perspective. University of Toronto Press, Inc., 1994, pp.Ã, 180-209. ISBNÃ, 0-8020-7737-4.
External links
- Gospel According to Matthew on IMDb
- Gospel According to Matthew in the TCM Film Database
- The Gospel According to Matthew at AllMovie
- The Gospel According to Dead Matthew at Rotten Tomatoes
Source of the article : Wikipedia
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