I ‘Last Temptation’ is ‘inspirational’
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Obviously, some do not share
this view of Christ and call the
movie blasphemous for interpret
ing the gospels this way. However,
while they certainly have a right to
disagree, they miss another point:
this is not a film of Gospel truth but
of a modern novelist’s viewpoint.
The original author was Greek
writer Nikos Kazantzakis, better
known for his novel “Zorba the
Greek.” He wrote it as an attempt to
come to terms with his own beliefs.
I Barbara Hershey, who plays
Mary Magdalene in the film, intro
duced the book to Martin Scorsese,
a Catholic who had fallen from his
faith and left the seminary to later
graduate from a film school.
Since the movie is the product of
two lost souls trying to make peace
with their own divine sides, their
savior had to be a tortured and
confused man.
In the end of the introduction to
his 1955 novel of the same name.
Kazantzakis wrote to explain his
work:
“This is not a biography; it is the
confession of a man w'ho struggles.
In publishing it I have fulfilled my
duty, the duty of a person who
struggled much, was embittered in
his life, and had many hopes. I am
certain that every free man who
reads this book, so filled as it is with
love, will more than ever before,
better than ever before, love
Christ.”
A similar quotation appears at
the beginning of the film before the
credits roll and before a disclaimer
that states the film is based on the
novel rather than any of the four
Gospels.
The spirit of the work is to use
the story at the heart of the Chris
tian legend as a basis for interpret
ing an artist’s struggle within him
self.
There arc plenty of other differ
ences this film has with previous
Jesus flicks, and most of them are
truly refreshing.
Thcancientrnid-Eastemculture
was much more thoroughly re
searched than ever before. At
times, the view of this very foreign
culture is quite spectacular.
Along with the exotic beauty is
all the grime of everyday life: dust,
uncu Diooa ana sweat, hew it any
other films of this period know the
culture this well.
On the other hand, the language
is idiomatic English to bring the
characters closer to the audience,
with accents ranging from the
proper British of the Romans to
Bronx and flat American for the
Jews. Sometimes this brought
chuckles from the audience, but
didn’t ruin the ambience of the
film.
Harvey Keitel plays Judas Is
cariot, the second most important
character in the film.
Rather than the craven traitor of
most common perception, Judas is
a strong, heroic rebel trying to lib
erate his land from the Roman
to him, his friend
Jesus is the cowering collaborator
who literally has the blood of fel
low Jews on his hands and face.
Judas is a man normally we
would be asked to cheer for, one of
Nietschze’s supermen in a battle
against both strong foes and weak
friends.
But his way is wrong and when
Jesus finally finds his purpose,
Judas warily agrees to follow.
NlAt/Ar trill w nn/Iarctnn/IinA »1«a «mam
- Miiwioiuiiuiiig, uiv man
he calls master, Judas becomes the
most important disciple with the
toughest duty.
The film is shot very beauti
fully, but its style is sometimes
distracting.
Rather than just tell a story,
Scorsese apparently feels he has to
constantly remind us that we are
watching a movie; the camera
swoops and pans and dollies often
for no reason.
This use of technique without
motivation, technique for its own
sake rather than the story, is the
film and Scorsese’s greatest weak
ness; sometimes the extravagance
becomes tiring.
But some of Scorsese’s use of
technique also brings new life into
old cliches such as the 40 days and
three temptations of the wilder
ness, saving Mary Magdalene from
being stoned or the raising of
Lazarus. The historically accurate
version of the crucifixion should
make everyone squirm.
The film gets its title from a long
dream sequence almost at the end
ol the picture.
The scene seems to go on too
long (the Film has already passed
the two-hour mark by the time it
begins) but it capsulizes the whole
reason why a man (interpreting
Jesus as mortal) would make such
a sacrifice.
DaFoe as Jesus gives the Final
word on blaspheme calling himself
“the K ing of blaspheme,” which he
is. His new way, though not op
posed to the old laws, is opposed to
the old way of thinking.
He declares further that, “God is
not an Israelite” (substitute Ameri
can, Republican, etc.). A character
in the temple tries to dissuade Jesus
by speaking for the people on the
screen (and outside the theater)
telling him that the people don’t
want the change he brings.
The one thing which Romans
and Jewish Zealots agree upon is
the importance of stopping a man
whose message is love, weapon is
pity and army are the crippled and
weak.
Today, Pontius Pilate’s (David
Bowie) words are equally true: His
message of peace is much more
dangerous than if he carried a
sword.
The film ultimately seemed
inspirational rather than profane.
Though it seems to attack organ
ized religion (Harry Dean Stanton
as disciple Paul, primary leader of
the early Christian church, looks
like a stereotypical religious shy
ster), slicking by one’s own faith
and duly is what is important —
there is no other choice for one who
continues to care about morality.
Much more can and should be
said about this movie. For all its
flaws, though no one will fully
agree with it, it is valuable as a
catalyst for discussion. It should
provide a good source for in-depth
analyzing of both pro and con of the
movie’s viewpoints.
The film is rated R for violence
and nudity. It is not a film for the
whole family.
Martin Scorsese has his heart in
the right place. For those who truly
want something to yell about, or
want to see something more truly
blasphemous, try seeing Robert
Frank’s 1961 film “The Sin of
Jesus” or Luis Bunuel’s 1930silent
“L’Age d’or.”
‘Elvis’ to visit Omaha
“Elvis: A Musical Celebration” is
coming to Omaha Nov. 25 through 27
at the Orpheum Theater.
Twenty perforrners/singers, danc
ers and musicians exploit the dead
man’s musical history from his child
hood in gospel choirs to his perform
ances in Las Vegas.
The two-hour musical production
features costumes of the era, laser
lighting, three 35mm projectors and
two motion picture screens.
Broadway’s Jules Fisher produced
“Elvis,” and Pat Birch, known for his
work in “Grease,’’choreographed and
directed.
Reserved seat tickets are $ 11.25 to
$21.25. The show will be at 5 and 9
p.m. on Nov. 25,2 and 8 p.m. on Nov.
26, and 2 p.m. on Nov. 27.
^ HOUSE WRECKIN' PARTY 6
& with &
£ CAPTAIN and &
& THE RED HOT FLAMES g
a from Denver ^
^ Tonight, Wed., Thurs. ^
$ *$150 gift certificate for best ^
costume on Halloween Night. W
$ 6
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See us for all your
Halloween Treats!
The
Cookie
I | —WTM Company
138 No. 12th, 475-0625 or Gateway-Lower Level 465-7292
_
kThristmas comes early
I he 11 th annual Peek at Christ
mas” gifts and crafts boutique will be
Friday, Saturday and Sunday at the
University Place Art Center/
Wesleyan Laboratory Gallery, 2601
N. 48 St.
More than SO local and regional
artists and craftsmen are expected.
Boutique items will include paint
ings, sculpture, handblown glass,
stained glass, pottery, jewelry and
silk scarves. Craftmaking also will be
demonstrated.
..
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