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Luckily for Amazon Prime subscribers, ‘The Passion of the Christ’ is available to stream on Prime Video. Is The Passion of the Christ on Amazon Prime? One of them is ‘ Mary Magdalene‘ (2018), which, as the title suggests, chronicles Mary Magdalene’s entire story. However, there are other spiritual films that you can watch on the platform instead. ‘The Passion of the Christ’ is currently not a part of Hulu’s subscription offerings.
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But if you are a fan of Christian movies and are looking for something similar in the genre, you can check out ‘ The Young Messiah‘ (2016) and ‘ Fatima‘ (2020) on the platform. ‘The Passion of the Christ’ is not available to stream on Netflix. A few flashbacks are also included, but they end up taking a backseat as the reality of what happened to Jesus Christ is so eloquently put together.
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Instead of Jesus’ entry into Jerusalem, though, it begins with his agony in the Garden of Gethsemane and continues to portray Judas’s betrayal, Jesus’ trial before the governor of Judaea, his crucifixion, death on Good Friday, and burial, along with a bit of its aftermath. So, this movie, too, centers around this period. The Bible may simply mention 'scourging', but here we watch in agonised minutiae the flagellation of Christ's torso, a passage of sickening physical degradation.‘The Passion of the Christ’ is titled keeping the few hours preceding Jesus Christ’s death, which is usually referred to as the “Passion” in biblical terms, in mind. If Gibson's sole purpose was to concoct a literalist depiction of gospel accounts, then he succeeds. It shocks and stuns with unflinching clarity. This is the most brutal, vivid, sustained depiction of torture ever mounted. De Mille or Pier Pasolini's sculptured renditions.Īnd here lies undeniable power. It's a tough objective, and the film veers between moody, flame-lit arcana and a burnished, draining whitewash daylight sucked dry of scope a docu-stark antidote to the dreamy twinkle of Cecil B. Cinematographer Caleb Deschanel was charged with refining the religious depictions of baroque artist Caravaggio (striking works of morbid iconography) for the screen. Evil.įor a film that is so determinedly putting its emphasis on the 'real', this is camp showmanship at its most redundant. Even Satan pops up as a hooded cue ball, part Sith, part Dr. There is also something half-deranged about its depiction of evil - deformed dwarves, mutilated children and storm clouds bloom daftly at the film's ropier fringes. For too much of the film there is an emphasis on the events as Jewish crime rather than any preordained sacrifice necessitated by scripture.
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Meantime, no-one will go into the movie immune to the peals of disgust hurled in Gibson's direction since he first declared his intentions ù principally accusations of anti-Semitism and Catholic propaganda - and, even objectively, they are not entirely unfounded. The film functions more as a visual experience than an intellectual or emotional one, the actors almost throttled by the significance of their characters.
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Caviezel is almost mummified beneath layers of prosthetics, skin flayed red raw like an animal carcass, leaving him more symbol than character. And amongst such vocal verisimilitude there is only the thinnest veneer of the gospels' eloquence, Christ's sanctified poetry to counter the cruelty into which he is delivered. So, be warned, it will test your mettle - not least in its determination to have Aramaic and Latin as the spoken languages, leaving English captions to feed the lines. Gibson's Passion is a downward spiralling journey into darkness and despair on an unprecedented scale.
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Ripping away years of indoctrinated Sunday School niceties, this is a film born less of Christ's message of love than a torrent of unfettered rage. A post-match lie-down in a darkened room comes highly recommended. When was the last time a film managed any of that? There is no doubting the impact. You may feel anger, revulsion, even queasiness at the stinging stretch of bloody martyrdom frustration at the film's obvious limitations or indelicate undertones it may even leave a residue of religious contemplation, a return to questions and confusions that scarcely reach debate in our secular times. Stumbling into the light, having just endured Mel Gibson's two-hour pop-profound blitzkrieg on your senses, religious convictions (or lack of them) and prescribed interpretations of the events leading up to the crucifixion of Christ, first reactions race and ricochet like a pinball.