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'The
Passion' Revisited
July 30, 2003
A few weeks ago, I
defended Mel Gibson's upcoming movie, "The Passion,"
against unwarranted criticism. After having had the privilege
of attending a private screening of the movie, I am even more
convinced of its value.
The movie, which depicts
the final 12 hours in the life of Jesus Christ, was so deeply
moving and profound one cannot do justice to it by attempting
to describe it in words.
The closest I can come
to a description is to say that viewing it makes you feel almost
like a live witness to the historical events (abbreviated from
12 hours to two hours) as they unfolded. It was not like watching
a movie from a detached perspective, but being inescapably drawn
into the realism of the action.
No punches are pulled
here, no emotions are spared, no sensitivities are coddled. It
is a depiction of suffering, agony, passion and raw, uncensored
violence visited on one man (and God) who volunteered for the
indescribable torment out of His sheer love for humankind.
I am sure that Gibson
chose stark realism not for the sake of shock and awe or sensationalism,
but to recreate as accurate a portrayal of the historical events
as humanly possible. The viewer sees the scourging because there
was scourging, he sees blood because there was blood, he sees
pain because there was pain.
Ironically, many of
the attacks on the project are based on its alleged inaccuracy.
Some Christian "scholars" are panning the movie, without
having seen it and based on a purloined and now obsolete movie
script, because of its dubious historicity and theology.
Gibson erred, they
say, not by deviating too much from scripture, but by trying to
adhere to it too closely. These "experts" believe they
know better than the eyewitnesses to the events what did and didn't
happen and what Jesus did and didn't say. Manifestly, their quarrel
is not with Mel Gibson, but with the Bible.
As "The Passion"
makes clear in terms I could never adequately express, the Gospel
message is not reserved for Phds and Biblical scholars. It is
simple enough for children to understand, but profound enough
to rescue the entire human race and all of its wickedness.
Certain Jewish groups
are criticizing the movie, saying it is anti-Semitic and will
inflame anti-Semitic sentiments among those who view it. While
anti-Semitism in the world is real and we've even witnessed a
disturbing resurrection of its infernal irrepressibility throughout
the world in recent years, this movie is not an example of it.
Quite the opposite.
The movie endeavors
to show the historical events "as they went down," without
any editorial comment or innuendo, and especially without judgmentalism.
It is not about blame and finger pointing, but love and redemption.
It does not convey a message of selective condemnation, but universal
hope. After all, as sinners, we are all culpable in Christ's death,
as Gibson points out, careful to confess his own responsibility.
I believe one of Mel
Gibson's main purposes is to use the medium he knows best to spread
the Gospel message, which is essentially one of love and eternal
life. And the way Gibson has decided to share that message is
to focus on the price Christ paid to redeem mankind.
We are so removed from
Christ's suffering that we could, if not careful, view the Gospel
as a mere mathematical equation. The sacrificial death of the
sinless, God-incarnate cancels out the past, present and future
sins of all those who place their faith in Him. But this is real
life, not an abstract exercise.
God didn't just zap
out man's sinfulness by divine edict. Being a God of perfect justice
and unlimited mercy, He had to deal with sin -- that is, physically
and spiritually deal with it. The Son, while still 100 percent
God, humbled and demeaned Himself to become man, to suffer all
the indignities of human existence, to become separated from the
Father with whom He was united in perfect love and harmony, and
to suffer His full wrath for the sum of all mankind's sins.
We must understand
that for this equation to work, for man's redemption to be possible,
Christ's suffering, His anxiety, His despair, His sense of betrayal
and His separation from the Father had to actually occur in the
flesh. "The Passion" emphasizes the reality of Christ's
substitutionary suffering in the flesh. In terms that words alone
cannot articulate, "The Passion" homes in on the full
value of the ransom Christ paid for all of us in the greatest
demonstration and act of love ever exhibited.
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