I’m a little under the weather so I’m just gonna phone this one in.
But I was doing my annual Paul Schrader marathon when I got to Dominion: Prequel to the Exorcist. A few thoughts: 1.) it’s a shitty movie but 2.) Vittorio Stararo was the DP?!!! How did that get past me?
And it’s such a shame that this film didn’t work because it is very much in line with the themes that occur throughout Schrader’s work. I haven’t bothered with the retooled Exorcist: The Beginning, but I’m glad Schrader stuck to his guns and at least attempted to make a cerebral film rather than make a run-of-the-mill horror. That’s what made the original Exorcist so interesting: director William Friedkin stated that it never occurred to him that he was making a “horror film” (he could be bullshitting though).
Schrader probably should have had a bigger say in the screenplay. Much of the introspective philosophical back-and-forth that, in my opinion, slightly bogged down The Last Temptation of Christ (which clashed with Martin Scorsese’s rather “extroverted” direction) would have been quite effective for Dominion. Additionally, the event that caused Father Merrin’s lack of faith should have been revealed later in the movie. And while there was some good stuff with the British colonial troops, I felt that there was no payoff for any of it.
(Plus the special effects REALLY sucked ass)
I also saw Touch for the first time. I don’t remember a damn thing about it other than Skeet Ulrich was in it.
Whatever happened to that guy? That dude was like, super fucking hot. Shouldn’t he have had a bigger career?
Were people disappointed to find out that he wasn’t Danish?
The Last Temptation of Christ unsurprisingly stuck with me. Usually when I complete a novel, I think “hmm, that was nice” and I move on to the next thing. But Kazantzakis’s interpretation of “the Greatest Story Ever Told” is rewarding and leaves a lot to think about, especially if you’re obsessed with early Christian history.
I mean, obviously it’s not historically accurate. That’s not the point. The point is that the book brings these familiar characters to life. Jesus begins the book as a sickly carpenter before transforming into the messianic figure we’ve come to know and love. However, his humanity is emphasized. At times, Jesus comes across as a jerk with megalomaniac fantasies. This helps contextualize Jesus the man and the era he lived in.
This is best demonstrated by his relationship with Judas Iscariot. Judas is a true revolutionary with a hatred for the Romans and is often frustrated by Jesus and his message of love. Jesus feels that Judas’s revolutionary ideals don’t go far enough: the concerns for the body are temporary, Jesus wants to bring salvation to the world…Jew and gentile alike.
The various characters are often puzzled by this. This universalism is too lofty, too radical to ever be realized.
And this sort of remains true today. I’ve expressed my admiration for John Dominic Crossan views: Jesus was responding to the imperial authority of the Romans. Jesus and his followers might not thought of it in that way, but that was effectively what he was doing. I don’t think enough scholars, both Christian and secular, stop to appreciate this. Not even Bart Ehrman.
I think this is best demonstrated by the cross as the official symbol of Christianity. Jesus unquestionably died by crucifixion, perhaps the most ruthless form of punishment by the Romans. And none of the early Christian apologists deny that it happened. Stop and think about that: their very leader got “owned” by the Romans. In fact, it HAD to have happened so that he could be resurrected. So Christians took this event and chalked it up as a win for their beliefs, and a loss for the ruthless rule of the Romans.
Scholars often wonder how Paul was able to convince so many pagans to convert to Christianity (or, to be more historically accurate, his form of Christian Judaism, as Paul still thought of himself as a Jew), well maybe here’s an answer: Roman rule under the Pax Romana pissed off enough people that when they heard of a man who was resurrected after a crucifixion, conversion was a way to subtly stick it to the Romans. This could be why Paul put so much emphasis on death and resurrection in his theology.
Yes, I know there are plenty of problems with this theory, chief among these is how little the Romans are criticized in the New Testament. In fact, the Gospels explicitly blame the Jews for Jesus’s death and not the Romans, even though the Romans certainly DID execute Jesus. My response to this is that you don’t have to spend more than two minutes following populist/leftist politics before realizing that they hate each other more than they hate their opposition. It is my opinion (maybe more on that at another time) that this is fundamentally rooted in these kinds of movements. Even though the Romans were THE existential threat to life in the Mediterranean world, it would have been mainstream Judaism that were the primary theological/ideological opponents of early Christianity…even if the Jews were as much under the thumb of Roman rule as they were. This is heresy in the world of radical movements, what leftists might call “class traitors” today, and it wouldn’t take much for Christian writers to switch out Romans for the Jews in regards to who was guilty for Jesus’s death.
It is this narcissism of small differences that plague radical movements, religious and political alike, and I doubt early Christianity was any different. (See Monty Python’s Life of Brian)
It is difficult to tell if the real Jesus actually preached this message of universalism, or a peaceful coexistence of all people under one God. Crossan might, but it’s more likely this was extracted by later thinkers and is now considered the ethical message of Christianity IF people could move past their short-sightedness (maybe not under “one god”, but you get the idea).
Anyways, I’ve spent too much time on this post, forgot where I was going. The end.
Why I obsess over Jesus and the New Testament, I don’t know. Just do. Get off my ass.
But I just started reading The Last Temptation of Christ by Nikos Kazantzakis. I’m only about halfway through it, it’s a long book. I don’t expect any twists and turns to a story that I’m already familiar with.
But the book is nothing like the film, let’s just get that out of the way.
I couldn’t have written in a million years. It reads like an extended version of the Gospels. But it weaves between perspectives-from Jesus (Son of Mary, as he’s often called), to Judas, to Mary (wife of Joseph) to Mary Magdalene, to the Apostles, etc-to create a rich tapestry of these events. Because Kazantzakis writes like the authors of the Gospels, the book actually breaths life into the books of Matthew, Mark, Luke, and John.
While reading it, I honestly forget that this book was deemed “controversial”. Of course, I haven’t gotten to the “last temptation” part, which might understandably piss some people off, but as Kazantzakis explains in his prologue, Jesus (at least if you’re Christian) was both full divine and fully human. Can you imagine the burden of having to live with that? Everyone hears about the “divine” part. But no one wants to confront the “fully human” part. So Kazantzakis takes that perspective and runs with it.
Anyways, finished taking a shit. Gotta get back to work.
Star Trek II: The Wrath of Khan (James Horner)- Listen to that opening track. Then listen to it again. James Horner (RIP) had a distinguished career, and this is where he started to get noticed. And honestly, he never really topped it.
Star Trek: First Contact (Jerry Goldsmith)- Some say Goldsmith was phoning it in during the 90s. That’s okay. Everyone was. But he kinda zigged here when any other composer would have zagged. Many consider this Trek film as “Die Hard in space” so anyone else would have done their best Michael Kamen impression. Goldsmith didn’t do that. He went right for the emotional gut and it worked.
Dances With Wolves (John Barry)- When playing this on the piano, I like to mix it with Goldsmith’s First Contact score. That’s all I got to say about that.
Blade Runner (Vangelis)- Man I love the crash that kickstarts the opening credits. Vangelis is the only one that could have done this film justice. Tears in Rain is one of the best songs in electronic music history. Speaking of Vangelis….
Alexander (Vangelis)- The screenplay is godawful, Colin Farrell is terrible, and Oliver Stone is out of his league in this one. But despite all of that, I’d still say that this is an okay film. But Vangelis’ soundtrack gets overlooked. It’s different in that Vangelis tries to do a traditional score with his use of strings, but there are some electric elements that are worth looking out for.
Merry Christmas, Mr. Lawrence (Ryuichi Sakamoto)- The only reason people know this movie is because of the soundtrack, and for good reason. But the film as a whole is an overlooked gem.
The Deer Hunter (Stanley Myers)- You get one song and one song only on this soundtrack. But that’s all that’s necessary.
The Last Temptation of Christ (Peter Gabriel)- Gabriel’s international sound puts a modern spin on a familiar story. Every track slaps, but A Different Drum might be the standout.
A lot of people don’t know this about me, but between laughing hysterically at shit and cum jokes I obsess over the historicity a man named Jesus of Nazareth, aka our Lord and Savior.
I even read the New Testament in Koine Greek (it’s a lot easier than you think).
For the record, I’m not a “mythicist”-or those that believe Jesus was a myth that the Romans or later believers fabricated. That’s stupid. Modern archeology and scholarship affirm that Jesus almost certainly existed.
Sure, some of my opinions my be a little bit outside the mainstream. I tend to agree with John Dominic Crossan’s assessment that perhaps Jesus’s ministry needs to be viewed in light of Roman authority. The Roman’s notoriously ruled with an iron fist. Jesus, by contrast, appeared more as a pacifist that appealed to neighborly love. His “Kingdom of God”, which Jesus almost certainly believed was going to be on earth rather than in some supernatural realm, directly challenged Roman Rule. So in many ways, Jesus was more than just a religious figure-he was a political one (not that anyone distinguished between the two in those days). Could this be wrong? Sure. But I think this view is worth taking seriously.
When viewed in this light, Jesus’s message remains just as radical today as it was in the first century AD: it was a direct challenge to the violence of the era.
But another interesting perspective on early Christianity is how it provides insight into the nature of radical politics: it starts off as fringe then branches off into rivaling sects before becoming mainstream. Once it becomes mainstream, it becomes orthodox and therefore conservative-if not authoritarian-in nature.
I’ve always thought that this subject, the “real” Jesus, would make an excellent film.
Unfortunately no such film has been made.
So the next best thing is Martin Scorsese’s The Last Temptation of Christ, based on the novel by Nikos Kazantzakis.
Is it a perfect film? No. I can appreciate some of the modern characterizations of Jesus, the Apostles, Judas Iscariot, and so on. But Paul Schrader’s dialogue comes across as academic, which at times undermines the effectiveness of the story.
But Scorsese’s frenzied take on a familiar story is refreshing. Of course Peter Gabriel’s soundtrack might be one of the best in film history (a hill I’m willing to die on).
What I love most about this movie though is it’s influence on my favorite film franchise: the James Bond series.
“The fuck are you talking about?” you might ask.
Think I’m crazy? Well you’re right. But I’m also correct.
Watch the final act of The Last Temptation of Christ. Then go watch the final act of Casino Royale.
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