| Photos (see all 38 | slideshow) | Videos (see all 8) |
Directed by | |||
| Mel Gibson | |||
Writing credits | ||
| Benedict Fitzgerald | (screenplay) and | |
| Mel Gibson | (screenplay) | |
Produced by | |||
| Bruce Davey | .... | producer | |
| Mel Gibson | .... | producer | |
| Stephen McEveety | .... | producer | |
| Enzo Sisti | .... | executive producer | |
Original Music by | |||
| John Debney | |||
Cinematography by | |||
| Caleb Deschanel | |||
Film Editing by | |||
| Steve Mirkovich | (recut) | ||
| John Wright | |||
Casting by | |||
| Shaila Rubin | |||
Production Design by | |||
| Francesco Frigeri | |||
Art Direction by | |||
| Pierfranco Luscrì | |||
| Daniela Pareschi | |||
| Nazzareno Piana | |||
Set Decoration by | |||
| Carlo Gervasi | |||
Costume Design by | |||
| Maurizio Millenotti | |||
Makeup Department | |||
| Brian Blair | .... | makeup effects technician (as Bryan Blair) | |
| Greg Cannom | .... | makeup effects consultant | |
| Desideria Corridoni | .... | hair stylist | |
| Maria Teresa Corridoni | .... | key hair stylist | |
| Michael Del Rossa | .... | makeup effects technician (as Michael P. Delrossa) | |
| Justin Ditter | .... | wig maker | |
| Glen Eisner | .... | makeup effects technician | |
| Brandon Ellison | .... | makeup effects artist (as Brandon Reininger) | |
| Damian Fisher | .... | makeup effects technician (as D. Damien Fisher) | |
| Renato Francola | .... | additional makeup artist | |
| Chris Gallaher | .... | makeup effects artist | |
| Carla Indoni | .... | hair stylist | |
| Mark Killingsworth | .... | makeup effects artist | |
| John Kim | .... | makeup effects technician | |
| Mary Kim | .... | makeup effects unit production manager: Captive Audience Productions | |
| Veronika Kostrhounova | .... | assistant makeup artist | |
| Bob Kretschmer | .... | wig maker (as Robert Kretschmer) | |
| Kristen Lobstein | .... | makeup effects technician | |
| Harvey Lowry | .... | director of operations: makeup effects department | |
| Christopher Xavier Lozano | .... | prosthetic makeup artist | |
| Rosa Luciani | .... | hair stylist | |
| Maurizio Lupi | .... | hair stylist | |
| Vincenzo Mastrantonio | .... | makeup artist | |
| Brian Meck | .... | makeup effects technician | |
| Verena Mercenier | .... | makeup effects technician | |
| Mario Michisanti | .... | key makeup artist | |
| Kelley Mitchell | .... | makeup effects artist | |
| Vera Mitchell | .... | hair stylist: Mr. Caviezel | |
| Mark Nieman | .... | makeup effects technician | |
| Michael O'Brien | .... | makeup effects technician | |
| James Parr | .... | special makeup effects technician | |
| Gary Pawlowski | .... | makeup effects technician (as Gary R. Pawlowski) | |
| Art Pimentel | .... | mold department supervisor (as Arthur Pimentel) | |
| Robert Ramos | .... | makeup effects technician | |
| Antonello Resch | .... | assistant makeup artist | |
| Brian Sipe | .... | special makeup effects supervisor: Captive Audience Productions | |
| Christien Tinsley | .... | designer and creator: special makeup effects | |
| Christien Tinsley | .... | makeup and prosthetics: Mr. Caviezel | |
| Keith VanderLaan | .... | special makeup effects designer and producer | |
| Brian Van Dorn | .... | makeup effects technician (as Brian Vandorn) | |
| Gianna Viola | .... | hair stylist | |
| Kevin Wasner | .... | makeup effects artist | |
| Federico Carretti | .... | additional makeup artist (uncredited) | |
| Nathan Franson | .... | makeup effects technician: Captive Audience Productions (uncredited) | |
| J.M. Logan | .... | special makeup effects artist (uncredited) | |
| Mario Michisanti | .... | facial hair designer (uncredited) | |
| Alberto Moccia | .... | hair stylist (uncredited) | |
| Maurizio Nardi | .... | additional makeup artist (uncredited) | |
| Mario Pegoretti | .... | hair stylist (uncredited) | |
| Michael Peterson | .... | lab makeup effects (uncredited) | |
Production Management | |||
| Vito Colazzo | .... | unit production manager | |
| Alfredo Ecolangeli | .... | assistant unit manager | |
| Federico Foti | .... | unit manager | |
| Rajeev Malhotra | .... | post-production supervisor | |
| Marco Olivieri | .... | unit manager: additional photography | |
Special Effects by | |||
| Daniel Acon | .... | special effects coordinator | |
| Renato Agostini | .... | special effects supervisor | |
| Fausto Baldinelli | .... | special effects blacksmith | |
| Peter A. Chevako | .... | mechanical engineer | |
| Massimo Cristofanelli | .... | special effects technician | |
| Anthony Francisco | .... | concept designer | |
| Chris Hampton | .... | special effects technician | |
| Jim Knell | .... | still photographer: Captive Audience Productions | |
| Marco Moneta | .... | special effects technician | |
| Michael O'Brien | .... | mold department/technician: Captive Audience Productions | |
| Franco Ragusa | .... | special effects foreman | |
| Colin D. Recchio | .... | mechanical engineer | |
| Timothy Rutherford | .... | special effects laborer | |
| Terry Sandin | .... | mechanical engineer (as Terry O.Sandin) | |
| Brian Van Dorn | .... | mold maker | |
| Chris Zega | .... | lab technician: Captive Audience | |
Visual Effects by | |||
| Marcus Andexler | .... | visual effects coordinator | |
| Brian Battles | .... | Flame compositor | |
| Les Bernstien | .... | motion control operator (as Leslie Bernstien) | |
| Alec Boehm | .... | first assistant camera | |
| Cris Borgnine | .... | best boy electric | |
| Tom Bristow | .... | I/O manager | |
| Everett Burrell | .... | digital compositor | |
| Timothy Michael Cairns | .... | quality control supervisor: Efilm/Panavision (as Tim Cairns) | |
| Melissa Carter | .... | visual effects editor | |
| Bryan Cooke | .... | digital compositor (as Bryan A. Cooke) | |
| Mike Donahue | .... | systems engineer (as Michael Donahue) | |
| Christopher Edwards | .... | manager of operations (as Chris Edwards) | |
| Tom Gleason | .... | first assistant camera (as Thomas D. Gleason) | |
| Anthony 'Max' Ivins | .... | digital effects supervisor: LOOK! Effects | |
| Tim Jarvis | .... | effects technician | |
| Kelly Jones | .... | visual effects gaffer | |
| Ray Juncal | .... | model shop supervisor (as Ramon Juncal) | |
| Laurel Klick | .... | digital compositor | |
| J.M. Logan | .... | visual effects line producer | |
| Linda McDonnell | .... | scheduling (as Linda McDonnel) | |
| Ted Rae | .... | visual effects supervisor | |
| Olivia Ramirez | .... | lead model maker (as Olivia St. Anne Ramirez) | |
| Drew Redford | .... | digital compositor | |
| Aaron Sharp | .... | visual effects video assistant | |
| David B. Sharp | .... | camera rigging mechanical designer | |
| Michael Shelton | .... | digital paint artist | |
| Tefft Smith | .... | CG animator (as Teft Smith) | |
| Mark Sullivan | .... | matte artist | |
| Gabor Szitanyi | .... | visual effects editor | |
| Chris Taft | .... | digital intermediate services cordinator: EFilm/Panavision | |
| John Teska | .... | CG animator | |
| Tracy Thomas | .... | visual effects assistant (as Tracy A. Thomas) | |
| Lola Tiger | .... | visual effects video assistant (as Helga Salmena) | |
| Mike Uguccioni | .... | digital compositor | |
| Keith VanderLaan | .... | visual effects designer and producer: Captive Audience Productions | |
| Pam Vick | .... | digital compositor (as Pam K. Vick) | |
| Seth Saint Vincent | .... | best boy grip | |
| Mark H. Weingartner | .... | motion control supervisor | |
| Derek Bird | .... | digital compositor (uncredited) | |
| Andy Bowman | .... | motion control technician (uncredited) | |
| Michael Butterfield | .... | post production assistant (uncredited) | |
| Patrick Clancey | .... | digital opticals (uncredited) | |
| Eric Ehemann | .... | animator (uncredited) | |
| Zack Fox | .... | visual effects production assistant (uncredited) | |
| Sam Greenmun | .... | model maker (uncredited) | |
| Alexa Hann | .... | post production assistant (uncredited) | |
| Eric Hann | .... | post production assistant (uncredited) | |
| Chris Hopkins | .... | digital compositor: Captive Audience (uncredited) | |
| Perry M. Kimura | .... | digital intermediate: EFilm/Panavision (uncredited) | |
| Kevin Lin | .... | quality control Combustion paint artist, digital intermediate: Efilm/Panavision (uncredited) | |
| Kevin Lin | .... | quality control coordinator, digital intermediate: Efilm/Panavision (uncredited) | |
| Paul Maples | .... | motion control operator (uncredited) | |
| Thomas Mathai | .... | data manager (uncredited) | |
| Brian Metcalf | .... | digital compositor (uncredited) | |
| Christopher James Miller | .... | visual effects pre-production: Mainstay Productions (uncredited) | |
| Bret Mixon | .... | digital rotoscope (uncredited) | |
| Kenneth Nakada | .... | digital matte painter: Captive Audience (uncredited) | |
| Marian Rudnyk | .... | digital artist (uncredited) | |
| Thomas Tannenberger | .... | digital compositor (uncredited) | |
| Alpheus Underhill | .... | best boy grip: visual effects unit (uncredited) | |
| Paolo Verrucci | .... | telecine colorist dailies (uncredited) | |
| Mark H. Weingartner | .... | visual effects directory of photography (uncredited) | |
| Kurt Wiley | .... | digital effects artist (uncredited) | |
| Chris Zapara | .... | digital artist (uncredited) | |
Stunts | |||
| Giorgio Antonini | .... | stunts | |
| Mauro Antonini | .... | stunts | |
| Paolo Antonini | .... | stunts | |
| Alessandro Borgese | .... | stunts | |
| Omero Capanna | .... | stunts | |
| Danilo Capuzi | .... | stunts | |
| Federico Ciuffolini | .... | stunts (as Frederico Ciuffolini) | |
| Bruno Di Luia | .... | stunts | |
| Edoardo Finocchi | .... | stunts | |
| Ionut Iftimoaie | .... | stunts (as Iftimoaie Ionut) | |
| Riccardo Mioni | .... | stunts | |
| Stefano Maria Mioni | .... | stunt coordinator (as Stefano Mioni) | |
| Alessandro Novelli | .... | stunts | |
| Emiliano Novelli | .... | stunts | |
| Angelo Ragusa | .... | stunts | |
| Gabriele Ragusa | .... | stunts | |
| Tatiana Romanova | .... | stunts | |
| Rocco Russo | .... | stunts | |
| Franco Maria Salamon | .... | stunt supervisor | |
| Paolo Susani | .... | stunts | |
| Massimiliano Ubaldi | .... | stunt double: Judas | |
| Claudio Zucchet | .... | stunts | |
| Massimiliano Bianchi | .... | stunt rigger (uncredited) | |
Casting Department | |||
| Kate Carlin | .... | voice casting | |
| Michela Forbicioni | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Giuseppe Avallone | .... | assistant costume designer | |
| Giovanni Casalnuovo | .... | first assistant costume designer (as Gianni Casalnuovo) | |
| Tiziana Magris | .... | wardrobe | |
| Valentina Monticelli | .... | assistant costume designer | |
| Marina Roberti | .... | key set costumer | |
| Lucilla Simbari | .... | key set costumer | |
| Barbara Spoletini | .... | set costumer (as Barbara Spolentini) | |
| Mariano Tufano | .... | assistant costume designer | |
| Piermatteo Giacalone | .... | assistant costumer (uncredited) | |
Editorial Department | |||
| Laura Alecci | .... | assistant editor: film, Italy | |
| Robert Ashe Jr. | .... | editor: promo reel | |
| Steve Bowen | .... | digital color timer | |
| Giorgio Conti | .... | assistant editor: avid, Italy | |
| Pasquale Cuzzupoli | .... | color consultant: dailies | |
| Barbara Dunning | .... | first assistant film editor | |
| Ben Estrada | .... | digital colorist assistant | |
| Juliet Hirata | .... | editorial production assistant | |
| William Hoy | .... | additional editor | |
| Suzanne LeAnce | .... | editorial supervisor | |
| Curtis Lindersmith | .... | digital intermediate editor | |
| Mark Perzely | .... | assistant editor: avid | |
| Danny Rafic | .... | assistant editor | |
| Lorene Simpson | .... | digital intermediate producer | |
| Liberata Zocchi | .... | assistant editor: film, Italy | |
| Rick Grayson | .... | apprentice editor (uncredited) | |
| Jeffrey P. Kloth | .... | supplier: film editing equipment (uncredited) | |
| Jim Passon | .... | film color timer (uncredited) | |
| Jeff Schweikart | .... | post-production assistant (uncredited) | |
| Craig Tanner | .... | assistant editor (uncredited) | |
Music Department | |||
| Peter Afterman | .... | music supervisor | |
| Ron Allen | .... | featured performer | |
| Wolfgang Amadeus | .... | music scoring engineer | |
| Jeff Atmajian | .... | orchestrator | |
| Frank Bennett | .... | orchestrator | |
| Chris Bleth | .... | featured performer | |
| Jessica Clements | .... | assistant music supervisor | |
| Chris Cozens | .... | auricle control systems | |
| Lola Debney | .... | music co-coordinator | |
| Brad Dechter | .... | orchestrator | |
| Andrew Dudman | .... | scoring crew | |
| Terry Edwards | .... | choir director | |
| Ahmed El-Eshmer | .... | featured performer | |
| Pedro Eustache | .... | featured performer | |
| Olga FitzRoy | .... | scoring crew (as Olga Fitzroy) | |
| Isobel Griffiths | .... | music contractor: orchestra and choir | |
| Karen Han | .... | featured performer | |
| Jan Hendrickse | .... | featured performer | |
| Rick Hyslop | .... | featured performer | |
| Hosam Ibrahim | .... | theme music | |
| Nick Ingman | .... | conductor | |
| Jake Jackson | .... | score recordist | |
| Peter Jeffreys | .... | featured performer | |
| Sean W. Karp | .... | music mixer | |
| Sean W. Karp | .... | music recordist | |
| Shannon Kingsbury | .... | featured performer | |
| Jack Lenz | .... | composer: additional music | |
| Aaron Martin | .... | featured performer | |
| Aaron Martin | .... | music coordinator | |
| Lévon Minassian | .... | featured performer (as Levon Minassian) | |
| Jen Monnar | .... | music editor (as Jennifer Monnar) | |
| Naser Mousa | .... | featured performer | |
| Shawn Murphy | .... | score mixer | |
| Sam Okell | .... | scoring crew (as Sam O'Kell) | |
| Simon Rhodes | .... | scoring engineer | |
| Michael T. Ryan | .... | supervising music editor | |
| Dan Savant | .... | music producer: orchestra and choir music | |
| Lisbeth Scott | .... | vocal coach | |
| Steven L. Smith | .... | music preparation | |
| Keith Thompson | .... | featured performer | |
| Martin Tillman | .... | featured performer | |
| Tanja Tzarovska | .... | featured performer (as Tanya Tsarouska) | |
| John Van Tongeren | .... | score synth programmer | |
| Mike Watts | .... | orchestrator | |
| Margaret Yen | .... | associate music supervisor | |
| Kevin Crehan | .... | music editor (uncredited) | |
| John Debney | .... | soundtrack producer (uncredited) | |
| Mel Gibson | .... | soundtrack producer (uncredited) | |
| Paul Kegg | .... | musician: cello (uncredited) | |
Transportation Department | |||
| Daniele Abeille | .... | transportation coordinator | |
| Fabio Orfanó | .... | driver: Mr. Gibson | |
| Massimiliano Rocchetti | .... | transportation captain | |
Other crew | |||
| Andrea Alunni | .... | facilities manager | |
| Luca Alunni | .... | assistant facilities manager | |
| Cecilia Alvarenga | .... | production coordinator (as Celcilia Alvarenga) | |
| Carlo Antonioni | .... | horse master | |
| Stefano Antonioni | .... | groom | |
| Carmen Yadira Avila | .... | assistant: Ted Rae | |
| Eleonora Baldwin | .... | script supervisor | |
| Milena Bono | .... | accommodation coordinator | |
| Anna Cannella | .... | set production assistant | |
| Giorgio Catalano | .... | production accountant | |
| Vicki Christianson | .... | chief operating officer: Icon | |
| Bob Corna | .... | set production assistant (as Robert Corna) | |
| Stefano De Leonibus | .... | office security | |
| Daniel de Rossi | .... | production assistant: Italy (as Daniel De Rossi) | |
| Nicola Di Marzio | .... | office production assistant | |
| Francesca Di Vella | .... | set production assistant | |
| Francis Dokyi | .... | key office production assistant (as Francis B.K. Dokyi) | |
| Philip Farah | .... | muppeteer | |
| Bill Feightner | .... | vice president of technology | |
| Alessandro Fiorito | .... | accountant | |
| Maria Fiorito | .... | accountant | |
| Alessandra Fortuna | .... | set production assistant | |
| Jennifer Fukasawa | .... | assistant: Mr. McEveety | |
| William J. Fulco | .... | consultant: theology | |
| William J. Fulco | .... | translator: Aramaic/Latin | |
| Alessandro Giuseppini | .... | cast liaison | |
| Kenneth E. Grassi | .... | production coordinator: Captive Audience Productions | |
| Paul Green | .... | executive vice president: Icon | |
| Michal Gregus | .... | assistant: Keith VanderLaan | |
| Gary J. Gross | .... | production consultant: Captive Audience Productions (as Gary Gross) | |
| Joshua Haber | .... | assistant: Mr. Gibson | |
| Yvonne Jimenez | .... | assistant: Mary Kim | |
| Sharon Kelly-Russo | .... | production coordinator: Captive Audience Productions | |
| Samba Koschak | .... | interpreter: Mr. Deschanel | |
| Harvey Lowry | .... | operations manager: Captive Audience Productions | |
| Daniela Macrillo | .... | assistant payroll | |
| Salvatore Magnisi | .... | cast and crew payroll | |
| Gianni Marini | .... | groom | |
| Pasquale Martino | .... | wrangler coordinator | |
| Jim Meenaghan | .... | business and legal affairs | |
| Evelina Meghnagi | .... | dialogue coach | |
| Paolo Merosi | .... | set production assistant | |
| Kevin Michaels | .... | chiropractor | |
| Jan Michelini | .... | key set production assistant (as Jan 'Lightning Boy' Michelini) | |
| Claudia Moscatello | .... | location coordinator | |
| Cariddi Nardulli | .... | assistant: Mr. Gibson | |
| Alexei O'Brien | .... | operations manager: Captive Audience Productions | |
| Andrea Passalacqua | .... | location manager | |
| Mimma Pietragalla | .... | location accountant | |
| Sabina Piscopo | .... | set production assistant | |
| Ilaria Pizzilli | .... | set production assistant | |
| Raphael Poggi | .... | set production assistant | |
| Antonio Pupillo | .... | security officer | |
| Roberto Radicchi | .... | office production assistant | |
| Sharon Richardson | .... | nurse | |
| Silvia Riolo | .... | production secretary | |
| Stefano Riolo | .... | office production assistant | |
| Patrizia Roletti | .... | assistant production coordinator | |
| Janna Rykova | .... | payroll | |
| Davide Sacchetti | .... | set production assistant | |
| Michele Santantonio | .... | office production assistant | |
| Attilia de Mario Sartor | .... | nurse | |
| Giancarlo J. Sini | .... | production accountant (as Giancarlo Sini) | |
| Massimiliano Sisti | .... | production assistant | |
| Stefania Sisti | .... | production office assistant | |
| Antonio Spoletini | .... | extras coordinator | |
| Silvano Spoletini | .... | extras coordinator | |
| Valentina Testa | .... | production assistant | |
| Vincenzo Testa | .... | location manager supervisor | |
| Amy Tillman | .... | business and legal affairs | |
| Maurizia Tranchina | .... | minor permits | |
| Sonia Troiani | .... | set production assistant | |
| Aldo Urzini | .... | armorer | |
| Stefano Veneruso | .... | set production assistant | |
| Bruno Verdirosi | .... | personal trainer: Mr. Caviezel | |
| Matteo von Norman | .... | production liaison: extras (as Matteo Von Normann) | |
| Bonnie F. Watkins | .... | assistant: Mr. Davey | |
| Cassidy Watkins | .... | assistant: Mr. Caviezel | |
| Brandon Ellison | .... | photo double: Jim Caviezel (uncredited) | |
| Jeffrey P. Kloth | .... | technician (uncredited) | |
| Christopher Xavier Lozano | .... | stills photography (uncredited) | |
| Timothy Scott Ralston | .... | studio projectionist (uncredited) | |
| Francesco Scopelliti | .... | facility maintenance (uncredited) | |
| Gerry Taylor | .... | location projectionist: dailies (uncredited) | |
Thanks | |||
| Tom Allen | .... | thanks | |
| Bob Angelotti | .... | thanks | |
| Raymond Arroyo | .... | thanks | |
| Paul Lauer | .... | thanks | |
| Charles Morton | .... | thanks | |
| Alan Nierob | .... | thanks | |
| David Rose | .... | thanks | |
| A. Larry Ross | .... | thanks | |
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| Star Wars: Episode III - Revenge of the Sith | Andrey Rublyov | The Lord of the Rings: The Return of the King | The Lord of the Rings: The Two Towers | Ben-Hur |
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It took me a long while to decide whether to see The Passion of the Christ. 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. I eventually decided, however, that whether I really wanted to or not, this was a film I needed to see. It took me two viewings to really get a grip on it, so intense were the emotions it provoked in me. Even now, weeks later, re-examining it in detail is still deeply affecting. For those few still unaware, the film details the last twelve hours in the life of Christ. Its dialogue is entirely in Latin and Aramaic, with English subtitles, a remarkably bold decision by Gibson, and one that pays dividends. On one level it unites an international cast, sparing us any clashing accents, and gives the film a greater sense of authenticity. 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.
Huge credit must go to the cast for mastering the language, and employing it in such universally excellent performances. 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. Despite these handicaps Caviezel delivers a performance of great emotional depth, embodying quiet nobility and sacrifice. The performance that really stood out was that of Maia Morgenstern as Mary. 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. Yet throughout the film she maintains an almost luminescent beauty, entirely befitting the mother of God.
One of the themes of the story emphasised by the film is the bond between Jesus and Mary. One flashback, found nowhere in the Bible, details the mundane routine of Jesus being called in from carpentry by His mother to eat. 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. It was also from this vein that the most powerful moment of the film sprang. As Jesus carries His cross, Mary begs John to get her closer to Him. She emerges into His path just as He fall under the weight of the cross. 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. 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.
It is moments such as these that make the film so much more than the orgy of violence its detractors claim. 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. 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.
As a film, The Passion of the Christ is excellent; as a religious experience it is even better. 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. 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. These remain very true to the text, with quotes such as "You are my friends, and the greatest love a man can have for his friends is to give his live for them" (John 15:13) incorporated whole and delivered beautifully.
Even is there were no flashbacks, however, the point of the film would remain, and it is a vitally important one. It serves as a powerful reminder of the reality of what happened: Jesus did not merely die for us, He was killed by us in the most terrible way imaginable. It is something that can easily be lost through over familiarity with the text, and the flowery nature of other representations, but which must not be forgotten.
It has been said that "If Christ be not risen, then our faith is in vain", and the film has also been attacked for devoting just a few minutes to the Resurrection. Such criticism, however, betrays a very narrow minded approach; the manner in which this sequence is filmed conveys the full thematic significance it.
Perhaps the film's greatest impact has been to get me to pick up the Bible again, and do so with a new faith and understanding. And for that Gibson deserves nothing but praise.