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66 of 69 people found the following review helpful:
5.0 out of 5 stars
The greatest version of the greatest story ever told, February 24, 2004
Prior to its debut on NBC in April 1977, "Jesus of Nazareth" was the subject of considerable controversy after director Franco Zeffirelli suggested his interpretation of Jesus would veer wildly from previous screen versions of the Gospels. Suspecting Zeffirelli, to say nothing of co-screenwriter Anthony Burgess of "Clockwork Orange" fame, had downplayed or even denied Jesus' divinity, some prominent religious leaders condemned the film, sight unseen, for its alleged blasphemy. One sponsor (General Motors) bowed out, and another stepped in (Proctor and Gamble, years before the company fought off unsubstantiated charges that its logo was Satanic). "Jesus of Nazareth" aired as scheduled, in two parts on two successive Sunday evenings, earning high ratings and praise from critics of all faiths."Jesus of Nazareth" is, hands down, the finest dramatic retelling of the life of Jesus to date. As George Stevens did with his 1965 fiasco, "The Greatest Story Ever Told," Zeffirelli recruited an all-star cast, but whereas Stevens could only have hired John Wayne to play a Roman Centurion because the Duke's name would look nice on the posters, Zeffirelli chose his stars because they were gifted actors perfect for their roles. One doesn't ooh and aah at the sight of Rod Steiger, Anthony Quinn, or Laurence Olivier, but rather marvel at how well they believably bring Pontius Pilate, Caiaphas, and Nicodemus to respective life. As good as they are, the most impressive performance may come from a less illustrious "name," James Farentino, who makes for a very commanding Peter. It could be argued that the film is too pretty at times (this is, after all, the work of the man who made 1968's lushly romantic "Romeo and Juliet"), bringing to mind the kind of postcard depiction that Mel Gibson's "Passion of the Christ" attempts to counter, but the script and performances thankfully lack the dry solemnity that often drains any semblance of life from most dramatic interpretations of the Bible. Robert Powell's Jesus doesn't merely "quote" passages from the New Testament but speaks the words of Jesus as those words might have been spoken for the first time. The crucifixion, though not as brutal and bloody as it probably was, also seems to be portrayed more realistically than usual, with Jesus carrying only the beam of his cross to Calvary which history seems to suggest was more likely the case. Maurice Jarre's score is sometimes moody and always reverent without being pompous, and despite its length, the story never drags. "Jesus of Nazareth" is an outstanding achievement, all the more impressive when one considers it was produced for television.
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