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Special Features
Disc 1: **Menus - Drissi **Feature Video **Passion Re-Cut (seamlessly branched) **Filmmaker Commentary with Mel Gibson, Caleb Deschanel, and John Wright (original cut only) **Production Commentary withStephen McEveety, Ted Rae and Keith Vanderlaan (original cut only) **Theologian Commentary with MelGibson, Father William J. Fulco, Gerry Matatics, and Father John Bartunek (original cut only) **Music Commentary with John Debney (Selected scenes)
Disc 2: **Menus - Drissi
**BY HIS WOUNDS WE ARE HEALED: MAKING THE PASSION OF THE CHRIST *Intro & Script Evolution *Language Barriers *Finding Jerusalem *Artistic Inspiration *The Right Role *Evil Personified *Tailoring a perfect fit *The Director *Grace in Photography *Make up and Visual Effects *The Earthquake *The Crucifixion *Jim Surrerning *Breaking the Tension *Wrapping Production *The Cutting Room *The Score *Designing the Sound Effects *Guerilla Marketing *Spiritual Journey *"Below the Line" Panel
**THE LEGACY *Paths of the Journey *On Language *Anno Domini *Crucifixion: Punishment in the Ancient World *Through the Ages
**DELETED SCENES *Pilate *Don't Cry *Theatrical Trailer
**GALLERIES *Production Art *Historical Texts *Art Images
Editorial Reviews
Amazon.com
After all the controversy and rigorous debate has subsided, Mel Gibson's The Passion of the Christ will remain a force to be reckoned with. In the final analysis, "Gibson's Folly" is an act of personal bravery and commitment on the part of its director, who self-financed this $25-30 million production to preserve his artistic goal of creating the Passion of Christ ("Passion" in this context meaning "suffering") as a quite literal, in-your-face interpretation of the final 12 hours in the life of Jesus, scripted almost directly from the gospels (and spoken in Aramaic and Latin with a relative minimum of subtitles) and presented as a relentless, 126-minute ordeal of torture and crucifixion. For Christians and non-Christians alike, this film does not "entertain," and it's not a film that one can "like" or "dislike" in any conventional sense. (It is also emphatically not a film for children or the weak of heart.) Rather, The Passion is a cinematic experience that serves an almost singular purpose: to show the scourging and death of Jesus Christ in such horrifically graphic detail (with Gibson's own hand pounding the nails in the cross) that even non-believers may feel a twinge of sorrow and culpability in witnessing the final moments of the Son of God, played by Jim Caviezel in a performance that's not so much acting as a willful act of submission, so intense that some will weep not only for Christ, but for Caviezel's unparalleled test of endurance.
Leave it to the intelligentsia to debate the film's alleged anti-Semitic slant; if one judges what is on the screen (so gloriously served by John Debney's score and Caleb Deschanel's cinematography), there is fuel for debate but no obvious malice aforethought; the Jews under Caiaphas are just as guilty as the barbaric Romans who carry out the execution, especially after Gibson excised (from the subtitles, if not the soundtrack) the film's most controversial line of dialogue. If one accepts that Gibson's intentions are sincere, The Passion can be accepted for what it is: a grueling, straightforward (some might say unimaginative) and extremely violent depiction of the Passion, guaranteed to render devout Christians speechless while it intensifies their faith. Non-believers are likely to take a more dispassionate view, and some may resort to ridicule. But one thing remains undebatable: with The Passion of the Christ, Gibson put his money where his mouth is. You can praise or damn him all you want, but you've got to admire his chutzpah. --Jeff Shannon
Product Description
The Passion of the Christ focuses on the last twelve hours of Jesus of Nazareth's life. The film begins in the Garden of Olives where Jesus has gone to pray after the Last Supper. Jesus must resist the temptations of Satan. Betrayed by Judas Iscariot, Jesus is then arrested and taken within the city walls of Jerusalem where leaders of the Pharisees confront him with accusations of blasphemy and his trial results in a condemnation to death.
Customer Reviews
Most Helpful Customer Reviews
373 of 418 people found the following review helpful
Format:DVD
One of the most talked about films in decades; thought I would add my 2 cents as a late entry.
I think the root controversy about the film has to do with the question of whether or not it has artistic merit for a viewer without faith. I think this is a fair question, as I never really understood the idea that religion offers, so to speak, an excuse for ugly artwork. Arguably there is no such excuse, unless one of the points of religious art is to repel people who don't already share the faith.
The film has been labeled violent, which it is; but unfair here has been the label that it is in some sense unusually violent. It is not. There are hundreds of films that are far more violent. Perhaps this film is even less violent than average. It is perhaps even less violent than the blockbuster version of Gandhi of some years back, billing Candice Bergen and Ben Kingsley, of which the Passion has reminded me somewhat; at any rate they are at least in the same ball park. Rather, the distinctive mark of the Passion is that it invites us to keep the humanity of the victim of violence in full view; not to distance ourselves by, say, feeling contempt or anger towards the victim as a bump-off-able bad guy, or seeing the victim as a replaceable curiosity, a dispensable nitwit. In the Gandhi movie, for example, the majority of the acts of violence are against victims who are more or less, cinematically speaking, dispensable nitwits. All we see Gandhi suffer is being shot at the end (and even that, at the beginning also, setting up a flashback)-and a few blows to the head (from which he recovers).
Yet the character to suffer the violence in this film is not only the main character, it is a character who is anything but a dispensable nitwit. He is unambiguously portrayed as is in the Gospels--a perfect human being-and more: a Divine Person. No doubt faith is helpful here, but if the viewer can so much as entertain the premise as a possibility, then I would say that the movie is as beautiful as it is emotionally powerful. Yet even apart from that premise, the film also powerfully portrays deep love and friendships between human beings, which has surely a beauty of its own even under heart wrenching circumstances. Moreover, in what is surely one of, if not the most violent sequences in the film-the scourging (the soldiers carrying out the order, one in particular, wind up going over the top in enthusiasm)-we only see the victim about half the time; the rest of the time we see shots of peoples' faces, notably his friends, mostly of the face of his mother. The film does show us the anatomical side of the violence enough so that we really understand what is happening-but no more; the point is what it MEANS for it to be happening. In this film suffering is given a human face.
It is quite a unique experience. First, breaking out of the package of being "mere cinema," there are two points of honesty of the film even apart from any faith claim. (1) by all serious accounts, Jesus of Nazareth was at the least an exceptional human being; yet death by crucifixion was no walk in the park. (2) by all serious reflections, in one way or another-regardless of how you slice it (whether from the point of view of any religion or from the point of view of atheism)-humanity really hasn't treated God any better than the main character gets treated in this film. This is a film which portrays God as staying with humanity despite the way it has treated him (and the way human beings have treated each other). The violence is not for it own sake; still less is it for the sake either of sadism--or of a narrator stepping off the screen to address the audience with guilt trips (shaming and flagellating the viewer)--; it is for the sake of thoughtfully presenting this possibility in an artistic way. Second, rather that allowing the audience the space to distance themselves from characters undergoing violence, this film actually does the opposite: it prods the audience to see NONE of the characters as dispensable nitwits, not even those who are committing the violence. The anti-Semitism charge is simply a non-sequitur. It's not anti-anybody.
The film visually portrays what I have described without being artificial or saccharine, invoking a remarkable depth for symbolism and a good sense of timing; it plainly succeeds in telling a story blending sight and sound. I will give two examples which I found especially powerful; they are even related. One is where the film shifts back and forth from shots of the feet of the roman soldiers standing in pools of his blood as they scourge him, to shots of the feet of the Apostles as he was symbolically washing them. The other is a subtle, nonverbal portrayal of the conversion of a roman soldier which spans in a sense the entire film. This conversion story is visually framed from the film's opening scenes when a temple guard has his ear miraculously restored after it is sliced off in a struggle by one of the Apostles. The guard remains for some time on his knees, as if so overcome by the experience he cannot move. The roman solider to be converted is subtly introduced in the next scenes (he is one of the soldiers Mary Magdalene complains to about the arrest), but we see him from time to time throughout the movie, witnessing and being influenced by various events; in a final scene, blood and water falls upon his eyes, flowing from the side of the deceased victim that he pierces with a lance (though first non-verbally apologizing to the mother; he does it merely to confirm he is dead), and he falls to his knees in a way which resonates with the action of the temple guard. The temple guard, so to speak, had his hearing restored; the roman soldier, so to speak, his sight. On the side of deep friendships, notable are the relationships between Jesus, his mother, Mary Magdalene and the youngest Apostle, John. One moment uniting this dimension to the above examples is when John stumbles and falls on his knees before the two Marys (running to them to tell them of Jesus' arrest)-to be followed by John later seeing Mary's agony as she watches her son fall to his knees as he carries the cross. The kneeling image in general is itself also framed by beautiful opening and closing scenes invoking a folding together of earth and sky (the first providing the backdrop of Jesus falling to his knees in his agony in the garden; the second entailing powerful from-the-ground-up and from-the-sky-down shots of the moment of his death on the cross). Here resonating throughout is the film's awesome musical score. I would add that the use of Aramaic in the film punctuated with subtitles was nothing less than masterful; I am not even aware of the film being in a "foreign language."
Acting was good but special mention needs to go to Maia Morgenstern, who played the mother. In interviews she said she played the character from the point of view of a mother who loved her son; the result is one of the most moving and beautiful character portrayals in all of cinema.
If you are looking for popcorn-eating entertainment, this is not the film to watch. (Even during gladiatorial times at the Colosseum this movie would have gotten thumbs down.) But if you are in the mood for a thought-provoking treatment of religious themes in a serious, sensitive and artistic way, then by all means see the film.
*Note: This review is not based on the Definitive Edition (or its commentary).
I think the root controversy about the film has to do with the question of whether or not it has artistic merit for a viewer without faith. I think this is a fair question, as I never really understood the idea that religion offers, so to speak, an excuse for ugly artwork. Arguably there is no such excuse, unless one of the points of religious art is to repel people who don't already share the faith.
The film has been labeled violent, which it is; but unfair here has been the label that it is in some sense unusually violent. It is not. There are hundreds of films that are far more violent. Perhaps this film is even less violent than average. It is perhaps even less violent than the blockbuster version of Gandhi of some years back, billing Candice Bergen and Ben Kingsley, of which the Passion has reminded me somewhat; at any rate they are at least in the same ball park. Rather, the distinctive mark of the Passion is that it invites us to keep the humanity of the victim of violence in full view; not to distance ourselves by, say, feeling contempt or anger towards the victim as a bump-off-able bad guy, or seeing the victim as a replaceable curiosity, a dispensable nitwit. In the Gandhi movie, for example, the majority of the acts of violence are against victims who are more or less, cinematically speaking, dispensable nitwits. All we see Gandhi suffer is being shot at the end (and even that, at the beginning also, setting up a flashback)-and a few blows to the head (from which he recovers).
Yet the character to suffer the violence in this film is not only the main character, it is a character who is anything but a dispensable nitwit. He is unambiguously portrayed as is in the Gospels--a perfect human being-and more: a Divine Person. No doubt faith is helpful here, but if the viewer can so much as entertain the premise as a possibility, then I would say that the movie is as beautiful as it is emotionally powerful. Yet even apart from that premise, the film also powerfully portrays deep love and friendships between human beings, which has surely a beauty of its own even under heart wrenching circumstances. Moreover, in what is surely one of, if not the most violent sequences in the film-the scourging (the soldiers carrying out the order, one in particular, wind up going over the top in enthusiasm)-we only see the victim about half the time; the rest of the time we see shots of peoples' faces, notably his friends, mostly of the face of his mother. The film does show us the anatomical side of the violence enough so that we really understand what is happening-but no more; the point is what it MEANS for it to be happening. In this film suffering is given a human face.
It is quite a unique experience. First, breaking out of the package of being "mere cinema," there are two points of honesty of the film even apart from any faith claim. (1) by all serious accounts, Jesus of Nazareth was at the least an exceptional human being; yet death by crucifixion was no walk in the park. (2) by all serious reflections, in one way or another-regardless of how you slice it (whether from the point of view of any religion or from the point of view of atheism)-humanity really hasn't treated God any better than the main character gets treated in this film. This is a film which portrays God as staying with humanity despite the way it has treated him (and the way human beings have treated each other). The violence is not for it own sake; still less is it for the sake either of sadism--or of a narrator stepping off the screen to address the audience with guilt trips (shaming and flagellating the viewer)--; it is for the sake of thoughtfully presenting this possibility in an artistic way. Second, rather that allowing the audience the space to distance themselves from characters undergoing violence, this film actually does the opposite: it prods the audience to see NONE of the characters as dispensable nitwits, not even those who are committing the violence. The anti-Semitism charge is simply a non-sequitur. It's not anti-anybody.
The film visually portrays what I have described without being artificial or saccharine, invoking a remarkable depth for symbolism and a good sense of timing; it plainly succeeds in telling a story blending sight and sound. I will give two examples which I found especially powerful; they are even related. One is where the film shifts back and forth from shots of the feet of the roman soldiers standing in pools of his blood as they scourge him, to shots of the feet of the Apostles as he was symbolically washing them. The other is a subtle, nonverbal portrayal of the conversion of a roman soldier which spans in a sense the entire film. This conversion story is visually framed from the film's opening scenes when a temple guard has his ear miraculously restored after it is sliced off in a struggle by one of the Apostles. The guard remains for some time on his knees, as if so overcome by the experience he cannot move. The roman solider to be converted is subtly introduced in the next scenes (he is one of the soldiers Mary Magdalene complains to about the arrest), but we see him from time to time throughout the movie, witnessing and being influenced by various events; in a final scene, blood and water falls upon his eyes, flowing from the side of the deceased victim that he pierces with a lance (though first non-verbally apologizing to the mother; he does it merely to confirm he is dead), and he falls to his knees in a way which resonates with the action of the temple guard. The temple guard, so to speak, had his hearing restored; the roman soldier, so to speak, his sight. On the side of deep friendships, notable are the relationships between Jesus, his mother, Mary Magdalene and the youngest Apostle, John. One moment uniting this dimension to the above examples is when John stumbles and falls on his knees before the two Marys (running to them to tell them of Jesus' arrest)-to be followed by John later seeing Mary's agony as she watches her son fall to his knees as he carries the cross. The kneeling image in general is itself also framed by beautiful opening and closing scenes invoking a folding together of earth and sky (the first providing the backdrop of Jesus falling to his knees in his agony in the garden; the second entailing powerful from-the-ground-up and from-the-sky-down shots of the moment of his death on the cross). Here resonating throughout is the film's awesome musical score. I would add that the use of Aramaic in the film punctuated with subtitles was nothing less than masterful; I am not even aware of the film being in a "foreign language."
Acting was good but special mention needs to go to Maia Morgenstern, who played the mother. In interviews she said she played the character from the point of view of a mother who loved her son; the result is one of the most moving and beautiful character portrayals in all of cinema.
If you are looking for popcorn-eating entertainment, this is not the film to watch. (Even during gladiatorial times at the Colosseum this movie would have gotten thumbs down.) But if you are in the mood for a thought-provoking treatment of religious themes in a serious, sensitive and artistic way, then by all means see the film.
*Note: This review is not based on the Definitive Edition (or its commentary).
286 of 331 people found the following review helpful
By Chuck Gray
When you start the movie you have the hype that has surrounded it. At the end you have the feeling that this individual loved, believed, and gave everything for his beliefs. You understand that the Jews of that society show they were like us today where a few acted as if they were the voice of the many. It is a movie that pulls at the fabric of your understanding of this horrible and painful death allowing you to understand it and what it must have been like.
In summary it is a movie that made me reflect. It made me sad, and based on my beliefs made me proud that this individual cared for me and gave his life to set me free. It was a well done and flowed well from beginning to end. It built on itself the way a great movie should. The editing and story through the lens was exceptional. It was a great technical movie regardless of beliefs.
176 of 202 people found the following review helpful
Format:DVD
I purchased this version after I saw it in the store the week it came out. I already owned the original DVD release, but I heard this had lots of special features and the re-cut version. Therefore I purchased this edition. However, I was a bit disappointed.
I really enjoyed the movie in the theater. It tells the story of the last 12 hours of the life of christ. It was very gory and I wouldn't want to show it to children. However, for older people (12 yrs. and up)this does a good job of depicting the trials and tribulations of Christ's crucifiction.
My biggest complaint about this movie was the subtitles. However, if you are familiar with the Biblical story, you can pretty much ignore the dialogue and focus on the picture.
Now for this "Definitive Edition" Special feature wise this is a great edition to have. It has loads of extra features.
My biggest complaint about this edition was that if you are a person like me who sometimes has to take several different times (starting and stopping) to watch a movie in it's entirety, the chapter selections are a wonderful thing. You can stop where you need to and start back just by selecting the scene you were on. However, with the definitive edition the scene selection is done with approximately 10 chapters. The chapters are set up to coincide with the "stations of the cross." Although a good idea if you are Catholic and want to see those stages but for a normal viewer of this movie it was terribly frustrating. The first chapter runs for over an hour. I usually don't have that long to watch so I have to start all over each time and use fast forward to get to where I was. It was just very irritating.
I really liked the fact that they included the re-cut version of the film as well as the original. If you are unfamiliar with the re-cut version, it essentially is a "less graphic" version of the film (although it is still very violent). This version may be better for a church library or a family with younger children.
If you like special features and want the less gory version of the Passion then by all means purchase this edition. However, if you prefer to be able to stop and start or jump to a certain scene of the movie then go with the original release (it has approx. 32 scene chapters).
I really enjoyed the movie in the theater. It tells the story of the last 12 hours of the life of christ. It was very gory and I wouldn't want to show it to children. However, for older people (12 yrs. and up)this does a good job of depicting the trials and tribulations of Christ's crucifiction.
My biggest complaint about this movie was the subtitles. However, if you are familiar with the Biblical story, you can pretty much ignore the dialogue and focus on the picture.
Now for this "Definitive Edition" Special feature wise this is a great edition to have. It has loads of extra features.
My biggest complaint about this edition was that if you are a person like me who sometimes has to take several different times (starting and stopping) to watch a movie in it's entirety, the chapter selections are a wonderful thing. You can stop where you need to and start back just by selecting the scene you were on. However, with the definitive edition the scene selection is done with approximately 10 chapters. The chapters are set up to coincide with the "stations of the cross." Although a good idea if you are Catholic and want to see those stages but for a normal viewer of this movie it was terribly frustrating. The first chapter runs for over an hour. I usually don't have that long to watch so I have to start all over each time and use fast forward to get to where I was. It was just very irritating.
I really liked the fact that they included the re-cut version of the film as well as the original. If you are unfamiliar with the re-cut version, it essentially is a "less graphic" version of the film (although it is still very violent). This version may be better for a church library or a family with younger children.
If you like special features and want the less gory version of the Passion then by all means purchase this edition. However, if you prefer to be able to stop and start or jump to a certain scene of the movie then go with the original release (it has approx. 32 scene chapters).
Most Recent Customer Reviews
5.0 out of 5 stars
fast shipping...
no damage...Item arrived as expected...in original package. Great price compared to the retail price and I wanted it as a gift so I went ahead and had it delivered to that person.
Published 12 hours ago by elvia
5.0 out of 5 stars
Bloody Good!
After taking a look at this movie with its powerful platform, I think that even I, came away splattered with Jesus's blood, on me. Read more
Published 1 day ago by Highwater1975
5.0 out of 5 stars
Passion of The Christ
This was a spiritually beneficial movie for me to watch with my granddaughter. She knows more about her Savior now by viewing this movie.
Published 3 days ago by Elizabeth A. Bonilla
5.0 out of 5 stars
Excellent movie.
I love this movie. It tells the story of how Jesus was crucified very well and touches your heart both at the same time. Read more
Published 5 days ago by Slickdude
5.0 out of 5 stars
Such a jarring and horrifying depiction.
Well, if you are wanting a feel-good story, this is not it.
I cannot comprehend the entire scope of the life of Jesus. Read more
I cannot comprehend the entire scope of the life of Jesus. Read more
Published 5 days ago by David Wester
5.0 out of 5 stars
The Classic and Best
I chose this rating because this is most accurate portrayal of the life and death of my Lord Jesus that I have even seen. Read more
Published 6 days ago by Terena C. Taylor
5.0 out of 5 stars
great movie... great music.... very true
i loved it and i think movie like this one should always take a part of our DVD's home collection.
Published 7 days ago by Roy Abdallah
4.0 out of 5 stars
Easy to be a hater, but...
I know, I know, Gibson is an anti-Semitic nut, but this is still a great film. Gibson takes a good amount of creative license (and rarely passes up an opportunity to slam... Read more
Published 8 days ago by Moses Avalon
3.0 out of 5 stars
Its okay
Greast serious, why is this thing making me right more stuff then necessary...it's great, nuff said. Dagg it wants MORE?
Published 8 days ago by C. Reyes
5.0 out of 5 stars
This is one heck of a movie
Given the subject and how many movies have depicted it, this one stands out as the most intense. It really gives you insight into the cruelty of the people and how hard their... Read more
Published 12 days ago by J. Begg Jr.
