私たちの時代の33年。 ローマのユダヤ州では、ナザレのイエスという名の神秘的な大工が「神の王国」の到来を告げ始め、謙虚な漁師のグループ、使徒たちに囲まれています。 何世紀もの間、ユダヤ人はメシアの到来を待っていました。メシアは、神聖な故郷を解放し、正義に基づいて新しい秩序を確立する摂理的な人物です。 イエスの教えは、彼がメシアであると認識する多くの信者を引き付けます。 状況に驚いたサンヘドリンは、十二使徒の一人であるイスカリオテのユダの助けを借りて、イエスを逮捕しました。 ローマに対する反逆罪で告発されたキリストはポンティウス・ピラトに引き渡されます。
製作費: $30,000,000 (45億円)
興行収入: $610,063,468 (915億円)
推定収支: $580,063,468 (870億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: メル・ギブソン
脚本: Benedict Fitzgerald / メル・ギブソン
音楽: ジョン・デブニー / Gingger Shankar
制作: メル・ギブソン / Stephen McEveety / Enzo Sisti
撮影監督: キャレブ・デシャネル
制作会社: Icon Productions
The fact that there is precious little English spoken here can come across as a little off-putting at the start. Until, that is, you remember that this is a story that has been told several times - not least in the bible, and so actually the language of the dialogue doesn't really matter so much. Once I was over that, I was rather impressed by the standard of production presented here by Mel Gibson. Jim Caviezel has a wonderful vulnerability and potency in his portrayal of the last day spent by Jesus before his crucifixion. The cinematography is very good, as is the glorious attention to detail with the costumes and settings rich and authentic to behold. The last half hour demonstrates a degree of brutality that is very difficult to watch but somehow that, too, enhances the plausibility of this speculative depiction of events. The supporting cast of relatively unknown talent work well to generate a sense of the inevitability of the proceedings and John Debney's score is rousing and effective too. It does play a little bit fast and loose with the text of the bible, and the very graphic nature of the lives (and loves!) of some of the characters - and their flaws - is provocative and challenges the more traditional (i.e. Cecil B. de Mille) interpretations of this ultimate example of man's inhumanity to man. It is far too long, though. It really does take it's time to get going - perhaps expending a little too much effort on scenario development for subjects that most of us already know (regardless of our own personal faith). At times the direction is also a little bit heavy-handed. It forces us to accept the conclusions drawn by the screenplay, rather than allow us much scope to evaluate, even judge, the unfolding events for ourselves. That said, Gibson has not delivered anything elegiac here, he successfully offers us something illustrating the warts and all existence of biblical-time, Roman occupied, Judea and it is well worth a watch.
**_The Suffering of The Christ_** Helmed by Mel Gibson, “The Passion of the Christ” (2004) details the excruciating last 12 hours of the life of Jesus (Yeshua) Christ as detailed in the Bible, as well as various devotional writings. Jim Caviezel stars in the eponymous role and it’s hard to imagine a more fitting person in the part. Also notable are Monica Bellucci as Mary Magdalene, Hristo Naumov Shopov as Pontius Pilate and Jarreth Merz as Simon of Cyrene. Obviously, this isn’t a fun movie. You have to be braced for it, as it’s shocking in a reverent way. This explains why one critic denounced it as "a two-hour-and-six-minute snuff movie." Nevertheless, it artistically brings to life that particular turning point in history and gives the viewer a great visual of what went down. Christ’s death appeased God’s just wrath in a substitutionary sense and opened the door to immortality and eternal life, as noted in Romans 6:23 and 2 Timothy 1:10. Research the evidence and decide for yourself whether this is historical fact or just myth. The film was shot entirely in Italy. GRADE: A
**A film rooted in the Gospels and Catholic devotion** Mel Gibson focuses the entire narrative on roughly the last twelve hours of Jesus’ earthly life, from Gethsemane to the tomb, following the Passion accounts in the canonical Gospels with additional details drawn from traditional devotional sources. By narrowing the scope so radically, the film becomes a sustained contemplation of Christ’s suffering and sacrificial love rather than a generalized “Bible story.” The use of Aramaic and Latin gives the film a sense of historical and liturgical authenticity, drawing viewers into the world of the first century and away from the polished gloss of many modern religious productions. This immersion makes it easier to pray with what you are seeing, much like meditating on the Stations of the Cross, which the Church especially commends on Good Friday. **A Good Friday practice of the heart** For Catholics, Good Friday is the most solemn day of the year, a time to fast, abstain, and fix our gaze on the Cross as we recall Christ’s Passion and death. Watching this film every Good Friday harmonizes beautifully with the Church’s invitation to meditate on the Passion, pray the Stations of the Cross, and enter into the Paschal Mystery with mind and heart. Because the movie dwells so unflinchingly on Christ’s suffering, it can function almost like a cinematic “Way of the Cross,” helping the viewer to unite personal sorrows and sins to the Lord’s wounds. Many Catholic commentators have noted that this intense focus on the Passion has led countless viewers to deeper conversion, more fervent confession, and renewed love for the Eucharist. **A profoundly moving portrayal of Christ** Jim Caviezel’s portrayal of Jesus is marked by a combination of physical agony and serene, interior surrender that many have found spiritually shattering in the best possible way. His performance embodies the Catholic understanding that Christ’s sacrifice is both fully human suffering and a freely chosen act of divine love, given “for us and for our salvation.” The film’s graphic realism, which some critics found excessive, is precisely what others—especially devout Catholics—recognize as its strength, because it refuses to sentimentalize the Cross or turn the Passion into an abstraction. Your experience of being moved “in ways you could not imagine” is very much in line with how many believers describe their first viewing: an almost overwhelming confrontation with the price of our redemption. **A work of art, faith, and evangelization** Despite controversy, The Passion of the Christ became one of the most commercially successful R‑rated films ever released, earning over 600 million dollars worldwide, which testifies to how deeply it resonated with audiences far beyond a niche religious market. Catholic writers have even called it “the most theologically focused treatment of the suffering of Christ ever committed to film,” noting its clear alignment with classic Catholic devotion to the Passion. Its impact went beyond the box office: the film sparked wide public conversations about Christ, the Cross, and salvation, and several members of the cast and crew reportedly entered or returned to the Catholic Church after working on it.
