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Miracles and healings during filming of Mel Gibson film?  Lists Awesomepower
 Jan 31, 2003 12:49 PST 
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                  A very violent 'passion'
                 
                  Mel Gibson's movie about the last hours in the life
                  of Jesus Christ is his riskiest yet
                  By HOLLY McCLURE
                  http://www.nydailynews.com/front/story/54288p-50909c.html
                 
                       
                       
                       
                       
                        The Last Supper: Jesus (Jim Caviezel, center) and the disciples; (Top) Cross to Bear: Jesus (Caviezel, r.) with Simon of Cyrene (Jarreth Merz).
                       
                       
                        Mel Gibson directs Jim Caviezel as Jesus in 'The Passion.'
                       
                  Mel Gibson has played a series of fervent men. William Wallace in "Braveheart" had a passion for freedom that revolutionized Scotland. Benjamin Martin in "The Patriot" heroically defended his family and the rights of Americans to live freely. Lt. Col. Hal Moore in "We Were Soldiers" was fiercely dedicated to bringing every soldier home from Vietnam. Heck, even Rocky Rhodes, his Claymation rooster in "Chicken Run," was desperate to free his flightless flock.

                  But Gibson's latest project promises to be the most urgent and heartfelt — and the riskiest— of them all.


                  The director of 1993's "The Man Without a Face" and 1995's Oscar-winning "Braveheart" has chosen to direct a story about the final 12 hours of Jesus' suffering for mankind. "The Passion," now in production, will primarily focus on the betrayal, trial and death of Christ, culminating with his graphic crucifixion and resurrection in the tomb. The movie will be spoken entirely in Aramaic and Latin, the languages spoken in Jerusalem in Jesus' time.

                  For those of us who haven't mastered Aramaic but enjoy films with subtitles, we're out of luck. There won't be any subtitles. Whether this is a stroke of genius or an attempt to commit career suicide, it's an eye-opening example of a major Hollywood star defying Hollywood logic.

                  Why would Mel Gibson make a movie about Jesus in languages few can understand or read? "It will lend even more authenticity and realism to the film," he says. "Subtitles would somehow spoil the effect that I want to achieve. It would alienate you and you'd be very aware that you were watching a film if you saw lettering coming up on the bottom of it. Hopefully, I'll be able to transcend the language barriers with my visual storytelling. If I fail, I fail, but at least it'll be a monumental failure."

                  The further significance of Aramaic being spoken in "The Passion" is that it will revisit the sacrifice Jesus made in Jesus' own language. Instead of the world getting another Hollywood production of Americanized Christianity, Gibson's movie will provide an authentic form of Christ's message.

                  According to Entertainment Weekly, Gibson, 47, is the third most powerful man in the business (behind Tom Hanks and Steven Spielberg). That leads to the natural assumption that the studios would line up to distribute whatever project he wants to do. But "The Passion" has met with little enthusiasm in Hollywood.

                  "My partners and I went searching for a studio to attach to the project, but no one would touch it," he says with a smile. "They all said, 'Are you crazy? Why are you doing a Jesus movie in Aramaic?' Obviously, nobody wants to touch something filmed in two dead languages, but I understand, because I would have rejected me too if I heard my pitch." The film will likely open at Easter 2004 — assuming Gibson and his producers at Icon Productions, Bruce Davey and Steve McEveety, can find a distributor.

                  Ten years in gestation, the project is a "labor of love" for Gibson. The script he wrote with Benedict Fitzgerald ("Wise Blood") is taken directly from the Gospels of Matthew, Mark, Luke and John or, as Gibson likes to refer to them, "four obscure writers." It also draws on an old book Gibson found in his library, "The Dolorous Passion," by Anne Catherine Emmerich. He says he didn't know he had it until it literally fell into his hands when he was reaching for another book. After years of writing, reworking the script and waiting for the right moment, Gibson was ready to make his ode to Christ.

                  "The Passion" stars Jim Caviezel as Jesus, Romanian actress Maia Morgenstern as his mother, Mary, and Italian star Monica Bellucci as Mary Magdalene. For obvious reasons, Gibson had to look outside the Holy Land for a location, and he found what he was looking for in Italy.

                  "I chose Italy, because it's a great country to work in," he says. "It's also a big melting pot and has a huge and diverse talent pool." The crucifixion scenes were filmed in the beautiful, southern city of Matera, where Pier Paolo Pasolini shot his 1964 movie "The Gospel According to St. Matthew."

                  "Certain sections of the city are 2,000 years old," says Gibson, "and the architecture, the blocks of stone and the surrounding areas and rocky terrain added a vista and backdrop that we [used] to create the backdrops for our lavish sets of Jerusalem. We relied heavily on the look that was there. In fact, the first time I saw it, I just went crazy, because it was so perfect."

                  BIBLICAL PROPORTIONS

                  On the outskirts of Rome, past the ancient ruins of the baths of Caracalla and the Catacombs, is the legendary Cinecitta studio. On the back lot, directly across from the decaying wooden sidewalks and faded storefronts used in Martin Scorsese's "Gangs of New York," is Jerusalem — or at least a 2 1/2-acre scale replica of it. Production designer Francesco Frigeri and decorator Carlo Gervasi have created a massive set, complete with a temple, courtyard, a praetorium and Pontius Pilate's palace. It is a spectacle of truly biblical proportions: giant columns, flights of stone steps, massive wooden doors, weathered Roman emblems, vendors' canopies and pottery.

                  Inside the gold-washed temple walls, smoke fills the air as the cast and crew of hundreds wait for direction, as if posing for a painting. The handcrafted costumes in beige, brown and black are designed by the award-winning Maurizio Millenotti. The special effects, makeup and hair department — which has custom-fitted every beard, hairpiece and braid to the actors — were flown in from Los Angeles, because of their unique ability to create what Gibson needed for the scenes in which Jesus is whipped and crucified.

                  Gibson says it is crucial that the story look realistic, not, as he puts it, "like a cheesy Hollywood epic." He chose cinematographer Caleb Deschanel, who worked with him on "The Patriot." Deschanel took as his inspiration the dramatically lit works of the Italian Baroque painter Caravaggio.

                  "The only reason anyone knows anything about this guy is from prison records, because he was a wild man, a rabble-rouser," Gibson says of Caravaggio. "But I think his work is beautiful. It's violent, it's dark, it's spiritual and it also has an odd whimsy or strangeness to it. And it's so real-looking. I told Caleb I wanted my movie to look like that and he said, 'Yeah, OK.' Just like that."

                  Though 40% of his film is being shot at night or indoors in low light, Gibson was surprised when he saw the first dailies. "I said, 'Oh my God, it's a moving Caravaggio!' And Caleb went, 'Well, that's what you asked for, isn't it?' He's so casual about this stuff."

                  As driven as Gibson is about this movie, he maintains an affable demeanor on the set, treating cast and crew with respect. He isn't above donning a red clown nose or burping through his bullhorn to lighten the atmosphere. It would be easy to misdiagnose his exuberance as hyperactivity. But in truth, he simply loves what he's doing.

                  The cast and crew is comprised of an international group from Romania, Algeria, Tunisia, Bulgaria and Israel, as well as Italy, the U.S. and other countries.

                  "We have Muslims, Jews, Christians, Buddhists, even agnostics," says Gibson, "and all are working together on this thing in perfect harmony. And they're all getting something out of it — people have been touched. They ought to let us run the United Nations.

                  WORKING MIRACLES?

                  "There is an interesting power in the script," he adds. "A lot of unusual things have been happening — good things, like people being healed of diseases. A guy who was struck by lightning while we were filming the crucifixion scene just got up and walked away."

                  Francesco De Vito, who plays the disciple Peter, says "I talk with Judas [Luca Lionello] and with John [Hristo Jivkov] about this movie and about faith on the set, and there is something going on with many of us. We've become very focused — it has changed us."

                  "There's a pride that all of us have because we realize we are working on an important movie that could change a lot of lives," says Vera Mitchell, Caviezel's personal stylist on the film.

                  To portray the most famous man who ever lived requires a confident, controlled actor who can radiate mercy, love and forgiveness without opening his mouth. Film historian and "Hot Ticket" critic Leonard Maltin thinks Caviezel was tailor-made for the role of Jesus.

                  "There's always a question of whether it's an asset or distraction to have well-known stars in key roles," says Maltin. "Jim is a great choice. He's a very earnest and sincere actor and he's not a 'personality' with a lot of baggage from other parts that he's played."

                  On an average day, Caviezel goes through an arduous makeup session that lasts anywhere from four to seven hours and transforms his clean-shaven face and partly shaved head into a believable likeness of Jesus.

                  "He looks like the Shroud of Turin," Gibson said when he first saw him onscreen.

                  Caviezel recalls that when Gibson offered him the part, he said to him, "Do you realize I'm 33 years old, the same age Jesus was when he went through all of this?" He believes his performance is divinely inspired.

                  "Truthfully, it was never up to me," he says. "I'm interested in letting God work through me to play this role. I believe the Holy Spirit has been leading me in the right direction and to get away from my own physical flesh and allow the character of Jesus to be played out the way God wants it — that's all I can do."

                  He has found Aramaic an intimidating language to learn and speak on camera.

                  "But I asked God to help me and I was able to learn it in a quick amount of time, more than I normally am able to learn things," he says.

                  The devoutly Catholic Caviezel takes his role seriously, often praying and softly quoting Scripture while in character. But he has a lighter side (he does a dead-on imitation of Bing Crosby) as well as a stoic one.

                  "I endured freezing winds that almost blew my cross off the cliff while I was on it," he says. "I felt it sway back and forth and I knew it was going to blow over."

                  This went on for a couple of weeks. "To make matters worse," he continues, "we were there without a heater and, of course, I don't have many clothes on the cross, so my body was going numb. I was spit on and beaten and carried my cross for days over and over the same road — it was brutal."

                  When asked about the makeup and special effects for his crucifixion scenes he winces, "I have a 2 a.m. call time to get skin put on for the flagellation and crucifixion scenes. But I consider all of it worth it to play this role."

                  "I know Jim suffered," Gibson says. "He separated his left shoulder and was in a lot of pain and discomfort, but he was very patient during the whole thing."

                  Not only did Caviezel spend 15 days on the cross, he endured days in ropes and chains, being scourged and whipped.

                  "Mel likes to put violence in his movies," the actor says, "but all he cares about is making it look true to the text. Never before has a film of our Lord been shown like this one. By the time [audiences] get to the crucifixion scene, I believe there will be many who can't take it and will have to walk out — I guarantee it. And I believe there will be many who will stay and be drawn to the truth."

                  Keith Vanderlaan, the film's special-effects makeup producer, did extensive research on crucifixions, then improvised to show nails being hammered into Jesus' hands, ribs protruding from his chest and blood spurting from his side. Audience members — at least, those who stay — will feel as if they are watching an actual crucifixion.

                  PERSONAL VISION

                  Gibson is weary of the comparisons that have already been made in the press between his film and Scorsese's controversial "The Last Temptation of Christ" (1988), which was based on Nikos Kazantzakis' novel.

                  "I've taken a totally different approach altogether," he says. "Why would I want to do anything that's been done before? Besides, I never saw [Scorsese's] movie, so I don't know how different it is." He says he was offered a role in "Last Temptation" but won't elaborate.

                  "I'm trying to access the story on a very personal level and trying to be very real about it," he adds. "I'm doing it in a realistic manner so that it doesn't suffer from the traps of a lot of biblical epics, which quite frankly, suffer from either being too corny, or laughable, or have bad hair or really bad music."

                  Maltin, however, contends that biblical epics have not lost their appeal. "People respond to the best of them because they were done with great conviction and sincerity," he says. "Who would have thought that a gladiator movie would have been relevant to the modern-day audience? Every year they trot out 'The Ten Commandments' [1956] on Easter Sunday, and it's almost 50 years old. It was corny then, in the best Cecil B. DeMille tradition, as it is now, but it is wonderful storytelling and an entertaining movie.

                  "There's always room for another movie about Jesus from a specific point of view," Maltin continues. "There are so many stories other than the last days of Christ that could be told. One thing is very clear: Gibson knows what his purpose is in doing a film of this magnitude.

                  His mission is, indeed, a passionate one, and as a dedicated director, it will be deeply felt. and that's the answer for anyone who asks the question 'Why?' about its box office [potential] or Mel using Aramaic. I look forward to seeing it."

                  Gibson is best known for action heroes and romantic leads, but it's his recent role as a minister in "Signs" that may subliminally prepare audiences to accept his spiritual side. He was raised in the Catholic faith and considers himself a traditionalist who loves the Latin Mass. He has a priest on the set who offers a Latin Mass and hears confessions from whomever wishes to take part.

                  "When I was growing up, the whole story of the Passion was very sanitized," he says. "It seemed to me very much like a fairy tale. Then from about the age of 15 to age 35, I kind of did my own thing, not that I didn't believe in God — I just didn't practice faith or give it much consideration. I went through that period in my life where you put a lot of other things first. I was a pretty wild boy, quite frankly. Even now, when I'm trying more than I was before, I still fail every day at some level, but that's being human."

                  Coming back to the story of Jesus nearly 20 years later was difficult, he says. "It seemed so distant, you know? I had to reconsider and say to myself, 'Now hang on a minute, this isn't a fairy tale — this actually happened, this is real.' And that started me thinking about what it must have been like, what Christ went through, and I started seeing it in film terms."

                  He accepts that making a movie about Jesus is risky "because it's very personal for everyone. Every nation and creed has been influenced by Christ in some way or another, and everyone has differing opinions about who he is, what he is and why, or whether they even believe in him or not. And that's the point of my film, really: to show all that turmoil around him politically because he is who he is."


                  Messiah in the movies



                  a.. "The Oberammergau Passion Play" The Bavarian town has staged a Passion play every 10 years since the 17th century, when it was performed to ward off plague. It was the basis of very early motion pictures by pioneers Thomas Edison, Adolph Zukor, Edwin S. Porter and Siegmund Lubin.


                  a.. "The King of Kings" (1927) Cecil B. DeMille always understood how to mix biblical spectacle with cheesecake, and this early epic version of the story of Jesus is a brilliant example of something for everybody.


                  a.. "The Last Temptation of Christ" (1988) Martin Scorsese's attempt at a humanizing portrait of Jesus (Willem Dafoe) is alternately reverent and blasphemous; it is also beautiful in places.


                  a.. "Monty Python's Life of Brian" (1979) The comedy troupe meets Jesus, sort of, in something completely different. This hysterical British satire on organized religion is both loathed and loved. For further English silliness, try "The Ruling Class" (1972), starring Peter O'Toole as an aristocrat who thinks he's Jesus.


                  a.. "King of Kings" (1961) Jeffrey Hunter's portrayal of Jesus in Nicholas ("Rebel Without a Cause") Ray's epic virtually brought his career to a halt. A fascinating artifact, the movie was shot in 70mm Super Technirama and has a fantastic score by Miklos Rozsa.


                  a.. "Godspell" and "Jesus Christ Superstar" (both 1973) At a time when "Moulin Rouge" and "Chicago" have reshaped the musical, it's fun to remember that the art form's cutting edge once came in the form of two hippie extravaganzas about Jesus.


                  a.. "The Gospel According to St. Matthew" (1964) According to most experts, this is the greatest cinematic rendering of the New Testament — and it was told by Italy's blasphemous visionary Pier Paolo Pasolini. As with Gibson's "The Passion," parts of it were shot in Matera.


                  a.. "The Greatest Story Ever Told" (1965) Director George Stevens' extravaganza is like a huge, swooping circus epic or a biblical version of "How the West Was Won." What it lacks in vision, it makes up for in spectacle. It even has John Wayne's centurion announcing, "Truly, this was the Son of God."

                  Henry Cabot Beck



                  Originally published on January 26, 2003
                 
           
     



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<DIV><FONT face=Arial>From www.AwesomePower.Net:
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                  <DIV><SPAN class=head><STRONG>A very violent
                  'passion'</STRONG></SPAN> <BR></DIV></TD></TD>
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                <TD><SPAN class=subhead>Mel Gibson's movie about the last
                  hours in the life<BR>of Jesus Christ is his riskiest yet
                  </SPAN></TD></TR>
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                <TD><SPAN class=bylinename>By HOLLY McCLURE</SPAN>
                  <P><A
                  href="http://www.nydailynews.com/front/story/54288p-50909c.html"><FONT
                  face=Arial>http://www.nydailynews.com/front/story/54288p-50909c.html</FONT></A></P></TD></TR>
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                      <TD><FONT size=-1><B>The Last Supper: Jesus (Jim
                        Caviezel, center) and the disciples; (Top) Cross to
                        Bear: Jesus (Caviezel, r.) with Simon of Cyrene (Jarreth
                        Merz). </B></FONT></TD></TR>
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                      <TD><FONT size=-1><B>Mel Gibson directs Jim Caviezel as
                        Jesus in 'The Passion.' </B></FONT></TD></TR>
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                  <P>Mel Gibson has played a series of fervent men. William
                  Wallace in "Braveheart" had a passion for freedom that
                  revolutionized Scotland. Benjamin Martin in "The Patriot"
                  heroically defended his family and the rights of Americans to
                  live freely. Lt. Col. Hal Moore in "We Were Soldiers" was
                  fiercely dedicated to bringing every soldier home from
                  Vietnam. Heck, even Rocky Rhodes, his Claymation rooster in
                  "Chicken Run," was desperate to free his flightless flock.
                  <P>But Gibson's latest project promises to be the most urgent
                  and heartfelt — and the riskiest— of them all.
                  <P>
                  <P>The director of 1993's "The Man Without a Face" and 1995's
                  Oscar-winning "Braveheart" has chosen to direct a story about
                  the final 12 hours of Jesus' suffering for mankind. "The
                  Passion," now in production, will primarily focus on the
                  betrayal, trial and death of Christ, culminating with his
                  graphic crucifixion and resurrection in the tomb. The movie
                  will be spoken entirely in Aramaic and Latin, the languages
                  spoken in Jerusalem in Jesus' time.
                  <P>For those of us who haven't mastered Aramaic but enjoy
                  films with subtitles, we're out of luck. There won't be any
                  subtitles. Whether this is a stroke of genius or an attempt to
                  commit career suicide, it's an eye-opening example of a major
                  Hollywood star defying Hollywood logic.
                  <P>Why would Mel Gibson make a movie about Jesus in languages
                  few can understand or read? "It will lend even more
                  authenticity and realism to the film," he says. "Subtitles
                  would somehow spoil the effect that I want to achieve. It
                  would alienate you and you'd be very aware that you were
                  watching a film if you saw lettering coming up on the bottom
                  of it. Hopefully, I'll be able to transcend the language
                  barriers with my visual storytelling. If I fail, I fail, but
                  at least it'll be a monumental failure."
                  <P>The further significance of Aramaic being spoken in "The
                  Passion" is that it will revisit the sacrifice Jesus made in
                  Jesus' own language. Instead of the world getting another
                  Hollywood production of Americanized Christianity, Gibson's
                  movie will provide an authentic form of Christ's message.
                  <P>According to Entertainment Weekly, Gibson, 47, is the third
                  most powerful man in the business (behind Tom Hanks and Steven
                  Spielberg). That leads to the natural assumption that the
                  studios would line up to distribute whatever project he wants
                  to do. But "The Passion" has met with little enthusiasm in
                  Hollywood.
                  <P>"My partners and I went searching for a studio to attach to
                  the project, but no one would touch it," he says with a smile.
                  "They all said, 'Are you crazy? Why are you doing a Jesus
                  movie in Aramaic?' Obviously, nobody wants to touch something
                  filmed in two dead languages, but I understand, because I
                  would have rejected me too if I heard my pitch." The film will
                  likely open at Easter 2004 — assuming Gibson and his producers
                  at Icon Productions, Bruce Davey and Steve McEveety, can find
                  a distributor.
                  <P>Ten years in gestation, the project is a "labor of love"
                  for Gibson. The script he wrote with Benedict Fitzgerald
                  ("Wise Blood") is taken directly from the Gospels of Matthew,
                  Mark, Luke and John or, as Gibson likes to refer to them,
                  "four obscure writers." It also draws on an old book Gibson
                  found in his library, "The Dolorous Passion," by Anne
                  Catherine Emmerich. He says he didn't know he had it until it
                  literally fell into his hands when he was reaching for another
                  book. After years of writing, reworking the script and waiting
                  for the right moment, Gibson was ready to make his ode to
                  Christ.
                  <P>"The Passion" stars Jim Caviezel as Jesus, Romanian actress
                  Maia Morgenstern as his mother, Mary, and Italian star Monica
                  Bellucci as Mary Magdalene. For obvious reasons, Gibson had to
                  look outside the Holy Land for a location, and he found what
                  he was looking for in Italy.
                  <P>"I chose Italy, because it's a great country to work in,"
                  he says. "It's also a big melting pot and has a huge and
                  diverse talent pool." The crucifixion scenes were filmed in
                  the beautiful, southern city of Matera, where Pier Paolo
                  Pasolini shot his 1964 movie "The Gospel According to St.
                  Matthew."
                  <P>"Certain sections of the city are 2,000 years old," says
                  Gibson, "and the architecture, the blocks of stone and the
                  surrounding areas and rocky terrain added a vista and backdrop
                  that we [used] to create the backdrops for our lavish sets of
                  Jerusalem. We relied heavily on the look that was there. In
                  fact, the first time I saw it, I just went crazy, because it
                  was so perfect."
                  <P><B>BIBLICAL PROPORTIONS</B>
                  <P>On the outskirts of Rome, past the ancient ruins of the
                  baths of Caracalla and the Catacombs, is the legendary
                  Cinecitta studio. On the back lot, directly across from the
                  decaying wooden sidewalks and faded storefronts used in Martin
                  Scorsese's "Gangs of New York," is Jerusalem — or at least a 2
                  1/2-acre scale replica of it. Production designer Francesco
                  Frigeri and decorator Carlo Gervasi have created a massive
                  set, complete with a temple, courtyard, a praetorium and
                  Pontius Pilate's palace. It is a spectacle of truly biblical
                  proportions: giant columns, flights of stone steps, massive
                  wooden doors, weathered Roman emblems, vendors' canopies and
                  pottery.
                  <P>Inside the gold-washed temple walls, smoke fills the air as
                  the cast and crew of hundreds wait for direction, as if posing
                  for a painting. The handcrafted costumes in beige, brown and
                  black are designed by the award-winning Maurizio Millenotti.
                  The special effects, makeup and hair department — which has
                  custom-fitted every beard, hairpiece and braid to the actors —
                  were flown in from Los Angeles, because of their unique
                  ability to create what Gibson needed for the scenes in which
                  Jesus is whipped and crucified.
                  <P>Gibson says it is crucial that the story look realistic,
                  not, as he puts it, "like a cheesy Hollywood epic." He chose
                  cinematographer Caleb Deschanel, who worked with him on "The
                  Patriot." Deschanel took as his inspiration the dramatically
                  lit works of the Italian Baroque painter Caravaggio.
                  <P>"The only reason anyone knows anything about this guy is
                  from prison records, because he was a wild man, a
                  rabble-rouser," Gibson says of Caravaggio. "But I think his
                  work is beautiful. It's violent, it's dark, it's spiritual and
                  it also has an odd whimsy or strangeness to it. And it's so
                  real-looking. I told Caleb I wanted my movie to look like that
                  and he said, 'Yeah, OK.' Just like that."
                  <P>Though 40% of his film is being shot at night or indoors in
                  low light, Gibson was surprised when he saw the first dailies.
                  "I said, 'Oh my God, it's a moving Caravaggio!' And Caleb
                  went, 'Well, that's what you asked for, isn't it?' He's so
                  casual about this stuff."
                  <P>As driven as Gibson is about this movie, he maintains an
                  affable demeanor on the set, treating cast and crew with
                  respect. He isn't above donning a red clown nose or burping
                  through his bullhorn to lighten the atmosphere. It would be
                  easy to misdiagnose his exuberance as hyperactivity. But in
                  truth, he simply loves what he's doing.
                  <P>The cast and crew is comprised of an international group
                  from Romania, Algeria, Tunisia, Bulgaria and Israel, as well
                  as Italy, the U.S. and other countries.
                  <P>"We have Muslims, Jews, Christians, Buddhists, even
                  agnostics," says Gibson, "and all are working together on this
                  thing in perfect harmony. And they're all getting something
                  out of it — people have been touched. They ought to let us run
                  the United Nations.
                  <P><B>WORKING MIRACLES?</B>
                  <P>"There is an interesting power in the script," he adds. "A
                  lot of unusual things have been happening — good things, like
                  people being healed of diseases. A guy who was struck by
                  lightning while we were filming the crucifixion scene just got
                  up and walked away."
                  <P>Francesco De Vito, who plays the disciple Peter, says "I
                  talk with Judas [Luca Lionello] and with John [Hristo Jivkov]
                  about this movie and about faith on the set, and there is
                  something going on with many of us. We've become very focused
                  — it has changed us."
                  <P>"There's a pride that all of us have because we realize we
                  are working on an important movie that could change a lot of
                  lives," says Vera Mitchell, Caviezel's personal stylist on the
                  film.
                  <P>To portray the most famous man who ever lived requires a
                  confident, controlled actor who can radiate mercy, love and
                  forgiveness without opening his mouth. Film historian and "Hot
                  Ticket" critic Leonard Maltin thinks Caviezel was tailor-made
                  for the role of Jesus.
                  <P>"There's always a question of whether it's an asset or
                  distraction to have well-known stars in key roles," says
                  Maltin. "Jim is a great choice. He's a very earnest and
                  sincere actor and he's not a 'personality' with a lot of
                  baggage from other parts that he's played."
                  <P>On an average day, Caviezel goes through an arduous makeup
                  session that lasts anywhere from four to seven hours and
                  transforms his clean-shaven face and partly shaved head into a
                  believable likeness of Jesus.
                  <P>"He looks like the Shroud of Turin," Gibson said when he
                  first saw him onscreen.
                  <P>Caviezel recalls that when Gibson offered him the part, he
                  said to him, "Do you realize I'm 33 years old, the same age
                  Jesus was when he went through all of this?" He believes his
                  performance is divinely inspired.
                  <P>"Truthfully, it was never up to me," he says. "I'm
                  interested in letting God work through me to play this role. I
                  believe the Holy Spirit has been leading me in the right
                  direction and to get away from my own physical flesh and allow
                  the character of Jesus to be played out the way God wants it —
                  that's all I can do."
                  <P>He has found Aramaic an intimidating language to learn and
                  speak on camera.
                  <P>"But I asked God to help me and I was able to learn it in a
                  quick amount of time, more than I normally am able to learn
                  things," he says.
                  <P>The devoutly Catholic Caviezel takes his role seriously,
                  often praying and softly quoting Scripture while in character.
                  But he has a lighter side (he does a dead-on imitation of Bing
                  Crosby) as well as a stoic one.
                  <P>"I endured freezing winds that almost blew my cross off the
                  cliff while I was on it," he says. "I felt it sway back and
                  forth and I knew it was going to blow over."
                  <P>This went on for a couple of weeks. "To make matters
                  worse," he continues, "we were there without a heater and, of
                  course, I don't have many clothes on the cross, so my body was
                  going numb. I was spit on and beaten and carried my cross for
                  days over and over the same road — it was brutal."
                  <P>When asked about the makeup and special effects for his
                  crucifixion scenes he winces, "I have a 2 a.m. call time to
                  get skin put on for the flagellation and crucifixion scenes.
                  But I consider all of it worth it to play this role."
                  <P>"I know Jim suffered," Gibson says. "He separated his left
                  shoulder and was in a lot of pain and discomfort, but he was
                  very patient during the whole thing."
                  <P>Not only did Caviezel spend 15 days on the cross, he
                  endured days in ropes and chains, being scourged and whipped.
                  <P>"Mel likes to put violence in his movies," the actor says,
                  "but all he cares about is making it look true to the text.
                  Never before has a film of our Lord been shown like this one.
                  By the time [audiences] get to the crucifixion scene, I
                  believe there will be many who can't take it and will have to
                  walk out — I guarantee it. And I believe there will be many
                  who will stay and be drawn to the truth."
                  <P>Keith Vanderlaan, the film's special-effects makeup
                  producer, did extensive research on crucifixions, then
                  improvised to show nails being hammered into Jesus' hands,
                  ribs protruding from his chest and blood spurting from his
                  side. Audience members — at least, those who stay — will feel
                  as if they are watching an actual crucifixion.
                  <P><B>PERSONAL VISION</B>
                  <P>Gibson is weary of the comparisons that have already been
                  made in the press between his film and Scorsese's
                  controversial "The Last Temptation of Christ" (1988), which
                  was based on Nikos Kazantzakis' novel.
                  <P>"I've taken a totally different approach altogether," he
                  says. "Why would I want to do anything that's been done
                  before? Besides, I never saw [Scorsese's] movie, so I don't
                  know how different it is." He says he was offered a role in
                  "Last Temptation" but won't elaborate.
                  <P>"I'm trying to access the story on a very personal level
                  and trying to be very real about it," he adds. "I'm doing it
                  in a realistic manner so that it doesn't suffer from the traps
                  of a lot of biblical epics, which quite frankly, suffer from
                  either being too corny, or laughable, or have bad hair or
                  really bad music."
                  <P>Maltin, however, contends that biblical epics have not lost
                  their appeal. "People respond to the best of them because they
                  were done with great conviction and sincerity," he says. "Who
                  would have thought that a gladiator movie would have been
                  relevant to the modern-day audience? Every year they trot out
                  'The Ten Commandments' [1956] on Easter Sunday, and it's
                  almost 50 years old. It was corny then, in the best Cecil B.
                  DeMille tradition, as it is now, but it is wonderful
                  storytelling and an entertaining movie.
                  <P>"There's always room for another movie about Jesus from a
                  specific point of view," Maltin continues. "There are so many
                  stories other than the last days of Christ that could be told.
                  One thing is very clear: Gibson knows what his purpose is in
                  doing a film of this magnitude.
                  <P>His mission is, indeed, a passionate one, and as a
                  dedicated director, it will be deeply felt. and that's the
                  answer for anyone who asks the question 'Why?' about its box
                  office [potential] or Mel using Aramaic. I look forward to
                  seeing it."
                  <P>Gibson is best known for action heroes and romantic leads,
                  but it's his recent role as a minister in "Signs" that may
                  subliminally prepare audiences to accept his spiritual side.
                  He was raised in the Catholic faith and considers himself a
                  traditionalist who loves the Latin Mass. He has a priest on
                  the set who offers a Latin Mass and hears confessions from
                  whomever wishes to take part.
                  <P>"When I was growing up, the whole story of the Passion was
                  very sanitized," he says. "It seemed to me very much like a
                  fairy tale. Then from about the age of 15 to age 35, I kind of
                  did my own thing, not that I didn't believe in God — I just
                  didn't practice faith or give it much consideration. I went
                  through that period in my life where you put a lot of other
                  things first. I was a pretty wild boy, quite frankly. Even
                  now, when I'm trying more than I was before, I still fail
                  every day at some level, but that's being human."
                  <P>Coming back to the story of Jesus nearly 20 years later was
                  difficult, he says. "It seemed so distant, you know? I had to
                  reconsider and say to myself, 'Now hang on a minute, this
                  isn't a fairy tale — this actually happened, this is real.'
                  And that started me thinking about what it must have been
                  like, what Christ went through, and I started seeing it in
                  film terms."
                  <P>He accepts that making a movie about Jesus is risky
                  "because it's very personal for everyone. Every nation and
                  creed has been influenced by Christ in some way or another,
                  and everyone has differing opinions about who he is, what he
                  is and why, or whether they even believe in him or not. And
                  that's the point of my film, really: to show all that turmoil
                  around him politically because he is who he is."
                  <P>
                  <P><B><FONT size=+1>Messiah in the movies</FONT></B>
                  <P>
                  <P>
                  <LI><B>"The Oberammergau Passion Play"</B> The Bavarian town
                  has staged a Passion play every 10 years since the 17th
                  century, when it was performed to ward off plague. It was the
                  basis of very early motion pictures by pioneers Thomas Edison,
                  Adolph Zukor, Edwin S. Porter and Siegmund Lubin.
                  <P>
                  <P></P>
                  <LI><B>"The King of Kings"</B> (1927) Cecil B. DeMille always
                  understood how to mix biblical spectacle with cheesecake, and
                  this early epic version of the story of Jesus is a brilliant
                  example of something for everybody.
                  <P>
                  <P></P>
                  <LI><B>"The Last Temptation of Christ"</B> (1988) Martin
                  Scorsese's attempt at a humanizing portrait of Jesus (Willem
                  Dafoe) is alternately reverent and blasphemous; it is also
                  beautiful in places.
                  <P>
                  <P></P>
                  <LI><B>"Monty Python's Life of Brian"</B> (1979) The comedy
                  troupe meets Jesus, sort of, in something completely
                  different. This hysterical British satire on organized
                  religion is both loathed and loved. For further English
                  silliness, try "The Ruling Class" (1972), starring Peter
                  O'Toole as an aristocrat who thinks he's Jesus.
                  <P>
                  <P></P>
                  <LI><B>"King of Kings"</B> (1961) Jeffrey Hunter's portrayal
                  of Jesus in Nicholas ("Rebel Without a Cause") Ray's epic
                  virtually brought his career to a halt. A fascinating
                  artifact, the movie was shot in 70mm Super Technirama and has
                  a fantastic score by Miklos Rozsa.
                  <P>
                  <P></P>
                  <LI><B>"Godspell"</B> and <B>"Jesus Christ Superstar"</B>
                  (both 1973) At a time when "Moulin Rouge" and "Chicago" have
                  reshaped the musical, it's fun to remember that the art form's
                  cutting edge once came in the form of two hippie extravaganzas
                  about Jesus.
                  <P>
                  <P></P>
                  <LI><B>"The Gospel According to St. Matthew"</B> (1964)
                  According to most experts, this is the greatest cinematic
                  rendering of the New Testament — and it was told by Italy's
                  blasphemous visionary Pier Paolo Pasolini. As with Gibson's
                  "The Passion," parts of it were shot in Matera.
                  <P>
                  <P></P>
                  <LI><B>"The Greatest Story Ever Told"</B> (1965) Director
                  George Stevens' extravaganza is like a huge, swooping circus
                  epic or a biblical version of "How the West Was Won." What it
                  lacks in vision, it makes up for in spectacle. It even has
                  John Wayne's centurion announcing, "Truly, this was the Son of
                  God."
                  <P><B>
                  <P align=right>Henry Cabot Beck</P></B>
                  <P><BR><BR><B>Originally published on January 26,
                  2003</B></SPAN>
      </P></LI></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></DIV>


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