• Bible Films Blog

    Looking at film interpretations of the stories in the Bible - past, present and future, as well as preparation for a future work on Straub/Huillet's Moses und Aron and a few bits and pieces on biblical studies.

         


    Name:
    Matt Page

    Location:
    U.K.












    Thursday, February 13, 2025

    Which Bible Films are coming out in 2025?

    This is a little bit late, but there are a whole host of Biblical adaptations getting released this year, so I thought I would list as many as I could find. These days I tend to focus on longer write ups, but if you read Peter Chattaway's substack you'll see he is far more up on forthcoming Bible films than I am and he has written about all the emerging details in great depth, so check them out. I've covered a few of these films and have linked to them below, the other links are to Peter's site, which I borrowed from extensively in putting together this list. 

    If you know of anything I've missed, then please let me know!

    Jan 11: David: A King's Calling (Twinbolt Media)
    Feb 12: Gabriel and the Guardians (Angel Studios)
    Feb 27: House of David (Prime Video)
    Mar 14: The Last Supper (Pinnacle Peak)
    Mar  27: The Chosen: Season 5 (Fathom Events)
    Apr 11: The King of Kings (Angel Studios)
    Apr/May: Martin Scorsese Presents: The Saints part 2 (Fox Nation)
    Spring: Our Child (Reel Issues)
    Spring: Testament (Angel Studios)
    Spring?: Jael Drives the Nail (Reel Issues)
    Sep 5: Light of the World (Salvation Poem Project)
    Nov 21: David (Angel Studios)

    Date still to be announced

    The Chosen Adventures (streaming)
    The Promised Land season 1 (streaming)
    R&B (streaming: Netflix)
    Bethlehem (theatrical: Angel Studios)
    Way of the Wind/Last Planet (Babelsberg/Pistachio)

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    Saturday, February 08, 2025

    The Chosen (2021) s2e06

    The Pharisee and the priest who cahllenge Jesus about eating on the Sabbath

    Following Mary's disappearance at the end of the last episode, we're concerned to find out what has happened to her. But those binge watching in the hope of a quick resolution will have to wait: the pre-credits sequence, as is often the case, takes us back into the even-further-past, to recreate an incident whose importance will resonate later in the episode.

    Ahimalech

    This time it's back to Nob in 1008 BC and the events of 1 Sam 21:1-9. Here David and his men, hungry and on the run from King Saul, beg the priests of nob for food and Ahimelech allows them to have the holy bread. It's an incident that has been adapted for the screen before, most memorably in the Richard Gere film King David (1985), but is often left out. Indeed it might just be an obscure verse in the Hebrew Bible, but for the fact that Jesus quotes (or rather misquotes) the incident in Mark 2:23-27 where he calls the priest Abiathar (the name of Ahimelech's son who later joins David). Both Matthew (12:1-8) and Luke (6:1-5) repeat the story but omit the error.

    There are various ways to explain this apparent problem: Perhaps Abiathar was the high priest and Ahimelech just the one who gave David the bread. Or perhaps Abiathar is a scribal error, or an error by Mark. Or that Jesus, as a human, could have a temporary lapse in memory and still be God.  In The Chosen's version of this story the priest is called Ahimelech, but refers to his son who is apparently called Abiathar. And, when (predictably) Jesus references this incident later in the episode, he calls the priest Ahimalech.

    There's another interesting wrinkle in this story too: the fact that David appears to lie when he claims he is on a special mission from "the king". In The Chosen's version of this story Ahimalech (as he is called here) calls David out on this point "it's my understanding you and the king are not on friendly terms", but David clarifies his meaning: "I've been sent on a mission from the king" (glancing upwards to imply God). 

    This changes the nature of the interaction. In Samuel, Ahimelech doesn't seem to know about the problems between David and Saul. It's a reasonable request, David promises his men "have kept themselves from women" so Ahimelech lets him have the bread and Goliath's sword. There's a sense of shock, then, in the following chapter when Saul finds out and has all the priests of Nob killed, even if Ahimelech's praise of David stokes Saul's fury.

    Here though The Chosen expands things. David reminds Ahimalech about the pikuach nefesh, a principle rooted in the Jewish belief about the sanctity of life meaning that most of the laws could be broken if it meant saving a specific life/specified lives. While the principles behind pikuach nefesh can be traced back to Lev. 19:16, it seems unlikely that it was being cited like this by this stage. Discussions about the principles behind it are coming from centuries later, indeed a good dal of time after Jesus. Indeed the fact that Jesus has to refer to the story, rather than just cite the principle is good evidence that the understanding behind the principle was still building at this stage. Nevertheless, for those who don't know the principle by it's Jewish name, David spells it out moments later: "Life is more sacred
    than bread".

    The second addition here is that Ahimalech is also given some kind of prophetic ability. Ahimalech realises that helping David might get him killed but he tells David doesn't care because "Something is going to come through you. I can feel it. Something bigger and more exciting". The implication is that he is talking about Jesus, David's descendent. 

    In some ways these additions play against how the story is used later in the show. If Ahimalech knows that this scenario is a life and death situation involving something even bigger than freeing the Israelites from the Philistines then the stakes regarding the eating bread when Jewish law says you shouldn't are far higher. But then Jesus' point is far weaker: there's a big difference between what Ahimelech is doing and just letting the slightly hungry disciples chew on a few ears of wheat. But then perhaps the filmmakers decided that adding further emphasis to the broader point the series is trying to make about Jesus' divinity is more important than this one aspect.

    There's something about Mary

    This instalment was only meant to be short, but I'm 750 words in and I still haven't got to the credits! At the end of the last episode a couple of incidents that happened near Mary Magdalene, had seemingly triggered her past memories of her sexual assault (from s1e01) and she had disappeared. The episode ended Empire Strikes Back style with the unlikely pairing of Simon (not-yet Peter) and Matthew (never called Levi) heading off to find her. 

    The promise of that pairing, both logical in a way (Simon's brawn and Matthew's brain) while also promising tension – Simon is arguably the least tolerant of Matthew's former life and his mannerisms. Here we find them on her trail waking up and planning their day but it's interesting that Simon is already softening towards Matthew. At least he accepts why he is there and is not too stupid to listen to him when he makes a good point (I must admit I'm very much on the side of my namesake if it comes to picking sides).

    Meanwhile we find out, almost, what has happened to Mary. She's back in one of her old haunts, in a basement in Jericho gambling, and seemingly doing very well, like a 1st century Victoria Coren Mitchell (if you don't know who she is, you should really look her up). Strangely, though, the show is a little reticent to go into what Mary else has really been up to on this bender. She has maybe been drinking, but she still seems to be doing really well playing a game that looks like it requires high levels of physical co-ordination, so she can't have had much. And then there's this exchange between Mary and one of several sore losers

    Mary: I came in here with a single shekel to my name, and now look at this pile, huh?
    Sore Loser:  How did you get the first one, woman, hmm? What'd you have to do for it?
    Mary: Wouldn't you like to know. 

    The implication seems to be that she earned it with some form of sex work. For what it's worth a shekel is perhaps the equivalent of around £10/$15. While I certainly wouldn't expect the show to go into the details, I do find it a little strange that its squeamishness about going into what Mary did that gave her such a sense of shame ("He already fixed me once. I broke again, I can't face him. I'm a bad person" she tells Mathew & Simon when they finally catch-up with her). 

    Of course the point of this whole incident is that Jesus accepts her back. I find this quite a bold and interesting angle for the show and according to this rebuttal video from Dallas Jenkins they've taken some heat for it (though I didn't manage to turn anything up in an, admittedly brief, search). In the video Dallas talks about this being part of his own experience and perhaps the reason Willard and his team decided to leave any specifics out was to make it easier for people to read their own experiences onto it. Many Christians will admit to letting Jesus down: Not many did so in quite the ways that are implied here. Anyway I like the idea that not all of those who followed Jesus became flawless saints straight away. And of course says "I just want your heart" and tells her that he forgives her and gives her a hug.

    I must admit, I found two of these scenes really moving. Firstly, when Mary finds Matthew and Simon (a nice reversal on them looking for her) and the alter part of the conversation as Matthew's sensitive side and his growing awareness of his own moral failures convinces Mary that it's OK for her to come back. It's nicely played by Elizabeth Tabish and Paras Patel. And then, obviously, there's Mary's reconciliation with Jesus in his tent, with some nice foreshadowing of Simon Peter's own coming reconciliation post-resurrection.

    Hungry disciples

    As the opening scene suggests, the longer story of Mary's redemption is paired here with Jesus debating the laws around the Sabbath after some Pharisees call out some of the disciples for plucking "heads of grain" one Saturday. There's quite a build up to this issue. Not only do we go right back to the time of Ahimelech and exaggerate it a little bit, here it's really made clear that the disciples are properly hungry, rather than just a bit peckish. 

    Firstly there is a conversation between Ramah and Mary, with Ramah extracting a few home economics tips from Mary who realises that they will all "be hungry for a few days". Next there is a conversation between Thomas who is concerned that "this is literally our last meal...Why can't he make food appear out of thin air?" and Andrew who recalls similar hardship when he used to follow the Baptist. "He doesn't sound like much of a planner" Thomas replies.

    Thomas is naturally back in full doubting mode, which I think The Chosen is using to show he was always a bit of a doubter and so that the infamous moment when he doubts the resurrection was not a one off but part of his personality. (I'm reminded of Thomas in Lee and Herring's Sunday Heroes who occasionally interjects with "well I find that very hard to believe). But it's ongoing presence here suggests that it's his questioning personality that is a problem, intensifying the trait already present in John's Gospel of trying to steer people away from asking too many difficult questions.

    And then in the final scene the hunger becomes too much for Simon Peter who absent-mindedly starts grazing on some wheat as they walk through a field and we arrive at the story from Mark 2:23-27 that everyone who knows the show and the gospels well has been waiting for. But the show reframes this incident, only having Jesus bring up the story of Ahimelech and the Jewish principle of pikuach nefesh right at the end of the episode.

    Synagogues and Sabbaths

    Immediately prior to this scene Jesus has already just had a Sabbath-related run-in with some Jewish authority figures. The gang turns up at the nearby synagogue in Wadi Qelt. This is a clever bit of research by the writers because there is a building known as the Wadi Qelt synagogue which some claim is one of the oldest synagogues in the world. The building dates back to the Hasmonean era around 70-50BC, but some dispute whether it was ever really a synagogue. (Incidentally, Wadi Qelt is a valley / stream between Jericho and Jerusalem that is possibly associated with the place where Elijah hid and was fed by ravens in 1 Kings 17:3).

    The synagogue is dark and foreboding and looks almost as cold as the chilly reception given to Jesus and his followers. Jesus spots a man with a withered hand and proceeds to heal him despite the protestations of the two men leading the service. 

    This story is also recorded in all three synoptic Gospels (e.g. Mark 3:1-6) where it comes immediately after the grain-plucking incident. Luke (6:1-11), specifies it takes place "on another Sabbath", but obviously this is just more than acceptable dramatic licence.

    The two men leading the service are interesting in a number of ways. Firstly, one is a Pharisee and the other is described as a priest. The synagogue movement was still in its early days in the time of Jesus and there does not appear to be much uniformity about who led them or executed other roles. The Gospels and Acts suggest it was relatively easy to get to perform the role of teacher (Mark 1:39) or reader (Luke 4:16). Jairus we are told was "one of the rulers of the synagogue" (Mark 5:22) as is someone else in Luke 13:14.

    It seems unlikely, though, that a priest would fulfil one of the more senior roles. Priests were for sacrifices at the temple, in Jerusalem. Perhaps they might be prominent members of synagogues in / close to Jerusalem, but we don't know of many synagogues in Jerusalem prior to the fall of the temple because synagogues were a sort-of stand-in for the temple for places too far away from Jerusalem. If you have a temple you don't really need a synagogue. It was only once the temple was destroyed in AD 70 that there began to be a real need for them. 

    Wadi Qelt synagogue was about 25km from the temple, so it's not implausible that a priest would have a role there. Perhaps he was only in Jerusalem sometimes, or commuted, or was retired, but it's not likely. There were other members of the community who could fulfil these roles, and the whole set up at this point (pre-70AD) was away from key authority figures and more grassroots led.

    It's far more plausible that a Pharisee was involved, however, given that their eventual successors – the rabbis – came to take on leading the synagogues as the movement took over following the fall of the temple. Eventually those different roles were increasingly consolidated into one role, fulfilled by a rabbi. 

    We also know that one of Jesus' criticisms of the scribes and Pharisees in Matthew 23:2-7 was their "love" for "the best seats in the synagogues", which even if you see that as hyperbole (or a later addition) at least suggest that scribes and Pharisees did sometimes have access to the best seats. Though it should point out that in the earliest version of that quotation was from Mark 12:38-40 doesn't actually mention Pharisees. That's something Matthew and then Luke add in.

    Another thing I appreciated here is that the priest and the Pharisee are clearly distinguishable by their costumes (see above). I don't really like the fact that the Pharisees in The Chosen wear their garments all the time – I don't think there's much evidence for that – nor that they are so elaborate, expensive and black (it's interesting that we occasionally talk about black hats and white hats as a metaphor for overly-simplistic distinctions between goodies and baddies in westerns, but there are actually fairly few of those movies, and many many more biblical films where we find black hats indicating the antagonists, namely the Pharisees).

    Nevertheless, many Jesus films tend to lump all of Jesus' opponents into one, they wear similar costumes, hang out together and act similarly and given the shorter runtimes it's hard to notice any distinction here between them. Here, however, it's clear that these two men, while united against Jesus' more lax approach to the Sabbath, are not the same. And actually Lamech (the Pharisee) wears a simpler head garment than some of the other Pharisees opposing Jesus. But this is actually an extension of an idea this episode has already explored...*

    Jesus, the Pharisees & the other Pharisees

    Going back even further in the episode we find two Pharisees trying to cause trouble for Jesus after another of his Sabbath healings in s2e04. The two are Shmuel, who goes right back to s1e01, and Yanni who only started opposing Jesus after the healing at Bethzatha in s2e04. Together, they are now petitioning Dunash, who seems to be the chief of staff for President Shimon, the son of the famous rabbi Hillel and leader of the generally more moderate Hillelite branch of the Pharisees. 

    Dunash doesn't really take their complaints seriously: they don't have enough witnesses; Shimon is too busy etc. Dunash even seems to allude distantly to the pikuach nefesh. and areas where the law needs "reform". While they are annoyed that Dunash has rebuffed them, they quickly pivot to the followers of Shammai, "the rigid one" as a slightly reductive piece of clumsy exposition puts it. 

    Yanni recites a story about Shammai of such dedicated adherence to the law, you suspect even Yanni thinks he might be going a bit far. They hope Shammai will use it to gain the upper hand over Shimon politically-speaking.

    What this does well – far better than any Jesus film I can recall off the top of my head – is delineate the Pharisees and make it clear that not only are all Jews not the same (as the show has done already, for example with the Zealots and a shout out to Simon the Zealot's super camp "training exercises" in this episode), but even among the Pharisees there are a range of views. On the one extreme we have Shimon and his late father Hillel. On the other we have Shammai, and close-ish to the Shammaites, but still markedly different we have Shmuel and Yanni.

    There are some things I really hope for here and some things I know won't happen, but hope that they one day might in something else. It would be nice if Dunash and maybe even Shimon get more air time in the rest of the series (remember I've still not seen it all). That we could see this more liberal Pharisaism up close a little more. And that it is shown to be truly liberal. While it seems that Shimon is more relaxed about the rules of the Torah (this episode awkwardly mentions 613 rules here twice!) it also seems that this is as much about moral laxity, or being overly casual than that he's more closely aligned to Jesus. 

    This matters because after the fall of Jerusalem a lot of the branches of Judaism disappeared. With the destruction of the temple there was little role for the priests and the more aristocratic Saducees were perhaps more deliberately and systematically disassembled by the Romans. Similar Zealot ideology was a busted flush and the Essenes held out in the desert for a bit before more or less their extinction.

    The Pharisees, though (and particularly, but not exclusively, the Hillel school) , eventually sort-of morphed into the rabbis (apologies for the gross simplification) and so when we see them portrayed in Jesus films it's important to remember they are, in some ways, stand-ins for the Jewish people of today. The more questionable their motives, the more The Chosen looks like the uglier forms of supersessionism and antisemitism (if modern day Judaism is descended from an inferior despicable starting point etc.). So I hope the Hillelite Pharisees, at least, are shown to include more devout, genuine and compassionate people, especially if they do not end up becoming Christians).

    What I'd love to happen was to see the narrowing of the gap between Jesus and the Pharisees and more of a recognition of the similarities between them. They had similar views on the Torah and belief in an  afterlife. The Pharisees had an interest in purity in every day living and we see Jesus discussing similar ideas around purity, holiness, being perfect and defilement. I think most Christians today like to think that Jesus was more relaxed about the rules of the Torah, and certainly that is the angle the show seems to come from but actually while Jesus was often less strict on certain rules he was more hardcore on others. Much of the Sermon on the Mount involves Jesus challenging his disciples to go beyond accepted standards.

    So what would be nice would be to see these heated debates more as passionate in-family disagreements over relatively minor questions, than almost despising each other as much as the Romans. After all, in Luke 13:31-32, the Pharisees ultimately warn Jesus that Herod is trying to kill him: for all the passion of their debates they don't want Herod to kill him (like he killed John). 

    For my money it's good that whereas in the Gospels the debate over the healing the man's hand ends with the Pharisees looking to "destroy" Jesus, here they seem concerned, and a bit angry initially, but softening to him even as they try to work out how to respond. The thought that Jesus might be for real seems to cross their minds, they seem at least a little open to the possibility even as they wrestle what the right way to respond is.

    So this is an encouraging step and I hope the various flavours of Judaism in general, and Pharisaism in particular continue to get fleshed out in more detail. This has been a longer post than usual, and I do need to stop doing this and get on with catching up with the series before season 5 comes along in a few weeks.

    * You can read more about ancient synagogues in Dana Murry's article for the World History Encyclopedia, "The Ancient Synagogue in Israel & the Diaspora". A much older (1896) and probably inaccurate piece by EDW Burton is also interesting.

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    Saturday, January 18, 2025

    David: A King's Calling (2025)

    Samuel, portrayed as a older middle aged man with white hair and a beard sit and talks to God in a screen grab from the film

    I'm planning on reviewing a few short biblical films in the next few months, first of which is the newly released David: A King's Calling (watch it here), written and directed by brothers Kaleb and Kyler Cook. With Amazon Prime's House of David landing next month (more about that from Peter Chattaway) the timing seems perfect and as the first chapter I ever had published in an academic was on films about King David, I thought I'd write a short review.

    It turns out that this isn't primarily a film about David, but about the prophet Samuel, played here by Steve Shermett best known for his work as Josiah on The Chosen. As such the film very much relies on his performance because this is not an epic movie about great battles and huge kingdoms: it's a small intimate film about connecting with God. It takes a few small verses from smack in the middle of the first Book of Samuel (15:34-16:3) and really digs deep into the feelings and emotions of that monumental moment.

    Those who know me well, will know that this is the kind of concept I love, taking a relatively obscure moment and exploring it through film and what's more I think the film handles that really well. Shermett's performance and the writing, editing and camera positioning really do give a feel of what it's like to pray and to attempt hear from God. Not many people retreat into the wilderness like Samuel does here (evoking a similar experience by David's most famous descendant), but anyone who has brought things before God over an extended or intense will relate to what the film portrays.

    However, there's a danger that such comments undermine the great technical work that goes on here. The concept is simple and the team relatively small, but it's clearly a labour of love by two filmmakers who know what they're doing. For a short film, there considerable number of different shots, and these don't come in the classic Hollywood shot-reverse-shot style. Indeed almost the opposite is true: the camera rarely returns to an earlier proximity/angle/location/time of day and yet the continuity never suffers. What results is a sort of consistent dynamism which both captures the passing of time but still, somehow, dwelling in the moment. 

    There are a few shots when this naturalistic kind of montage makes way for special effects, but for me, these are among the film's weaker moments. For me it's the quieter, intimate moments where it feels it connects to something; touches something spiritual even. And while the tech-laden finale brings a certain sense of closure to proceedings, it's the quieter moments earlier on that really linger in the memory.

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    Sunday, January 12, 2025

    The Chosen (2021) s2e05

    Thomas, Simon the Zealot, John the Baptist, Simon Peter and Jesus in a discussion just as Jesus clarifies "you are both Simons"

    It's been a while (nearly six months!) since I had time to write up an episode of The Chosen, but I finally have some space in my schedule. So I thought I'd get going with the next episode "The Spirit" even if it'll take me a few such moments in my schedule to get it done. Then hopefully I'll be able to write these a little more regularly from now on! 

    After taking a deep dive in s2e04 into a single story (the healing the the pool of Bethzatha), this episode is much more about setting up future storylines. Arguably the min incident is the healing of someone with a demon, but it's not one of the major exorcisms that the Gospel focus upon and it's more a way of introducing several new characters – the man at the centre of this miracle seems to become almost incidental the moment he's healed.

    Mary and literacy

    The pre-credits sequence starts, unusually in recent episodes, with one of the characters we already know, Mary Magdalene, who's collecting some apples in a remote-ish part of the countryside. As she does so, she's memorising a bit of scripture (Psalm 139:8) from a scrap of paper. 

    I've mentioned before how I find the literacy of the figures in this adaptation implausible and a little propagandistic, but since last I discussed this in s2e03, I've come across a further source. In Catherine Hezser's book "Jewish Literacy in Roman Palestine" (some of which you can read here and here), she presents evidence that the numbers of "Palestinian Jewish" who could "read documents, letters and 'simple' literary texts... and to write more than one's signature" would be only "slightly higher" than 3% and well below 10%.* She also concludes that Jewish elementary schools were focussed far more on reading than writing and "seem to have been rare before the third century".*

    One could argue that Jesus' followers were a notable exception – and perhaps the filmmakers really do – that Nazareth bucked the trend; that experts such as Hezser and Harris and Bar-Ilan who she draws on are a little too pessimistic; and that Jesus specifically chose educated people who were not only able to read and write, but also able to teach others. But doing so moves far beyond 'likely', even if it's possible to come up with a scenario such as the above which one could say still passes Dallas Jenkins' "plausibility" test. Essentially, though, this is seeking to bolster a pre-determined outcome, not basing your take on the balance of available evidence. 

    By the way, if you're interested in Jesus' own literacy (and I can't remember if we've seen him do much writing, but maybe some reading in The Chosen so far) then Chris Keith's recent book "Jesus' Literacy: Scribal Culture and the Teacher from Galilee" (which is largely available online for free) might be of interest.

    Anyway, the key point in this sequence, is to introduce the idea that despite Mary still seems to be recovering from some form of trauma. When the demoniac turns up later in the episode the point seems to be that while she has been exorcised of seven demons, she is not yet entirely free of them. But in this opening sequence it appears that she is triggered by seeing Roman soldiers, perhaps the remoteness of the location is also significant, perhaps not. Nevertheless it's an interesting creative decision to take that Mary's path is more complicated than a simple encounter freeing her from her part.

    Jesse and the Jewish Authorities

    Jesse, the man whose leg Jesus healed in the last episode, is also struggling to walk away from his past. People keep wanting to interrogate him about his experience. This starts with him being interviewed by Schmuel and what I assume is another Pharisee. Certainly they are dressed very similarly and are both members of the Sanhedrin (though filmmakers often have a tendency to dress all of Jesus' Jewish opponents the same).

    It turns out that this is at least their second time interviewing Jesse and various scenes follow of Schmuel essentially trying to alert the Sanhedrin that Jesus is a threat and his companion trying to teach him how to navigate the politics of the Sanhedrin. It appears that Nicodemus has perhaps quashed their efforts to begin proceedings against Jesus.

    There's little scholarly consensus around the Sanhedrin of Jesus' day. One of the things that the show consistently seems to do is apply what we know about Judaism after the fall of Jerusalem (70AD) to Jewish life before the fall. But this was an earth-shattering event in Jewish history that destroyed certain pillars of Jewish life. Simply assuming that things such as the Sanhedrin did not radically change after the fall is kind of problematic. Similarly I'm uncomfortable with the way the Sanhedrin is portrayed here: it's not only authoritarian with seemingly strong powers to enforce how people live their lives, but it's also venal, and divided by political wranglings, riddled with bureaucracy, and rendered ineffective with corruption. 

    In some senses this makes for good drama. The problem is that in the 2000 years since Jews have often been portrayed very negatively and this has contributed to a atmosphere of othering / dehumanising of Jews and antisemitism. I certainly don't think that is at all the show's intention, but I do wish they'd approached this issue more carefully and then been rigorously determined to come in the opposite spirit. It's never clear, for example (and this is true of almost all Jesus films/television) why the people accepted the harsh regimes they are portrayed as living under (which itself perhaps suggests they were all 'blindly religious' and that only Jesus and those willing to follow him were exceptions).

    But Schmuel and his colleague are not the only people trying to find out what happened. Atticus bumps into him in the city and poses as a sympathetic friend to try and extract information. Just as Aesop's "The North Wind and the Sun" concludes that "gentleness and kind persuasion win where force and bluster fail" so Jesse responds to Atticus' sunny disposition and unwittingly tells him everything he wants to know, particularly about Jesse's brother Simon. Jesse even mentions that having seen the healing, Simon "believes the man responsible *has* to be our messiah" (as per his letter in s2e04). As a result, Atticus soon manges to track down Simon just as he himself is tracking down Jesus.

    The other Simon

    Jesse's brother is also working through the implications of the healing at Bethzatha as he reaches Jesus' camp. First though he has an encounter with Caleb who is afflicted with demons. Simon nearly kills him but spares him in case the demons enter him instead. The two go separate ways but meet again at the disciples' camp as the demons try and taunt Mary. Despite the various montages we've seen of Simon training, Caleb has a seemingly supernatural strength and throws him off. Jesus comes to the rescue by using supernatural strength of his own.

    For Simon this re-confirms that Jesus is the messiah. "Then you are…?" he asks, to which Jesus replies with a simple yes. Having got the introductions out of the way (including a moment Abbott and Costello-esque confusion confusion which Jesus resolves with "I'll stop you there. You are both Simons"), Jesus and Simon head off for a little chat. Simon wrestles with resolving his different expectations about what the Messiah would be like. This time he flat out asks him "You are messiah aren’t you?" to which Jesus agin responds in the affirmative.

    This is interesting because in the Gospels (and particularly the Synoptic Gospels) Jesus is much more reticent about confirming that he is the Messiah/the Christ. It's not until Peter's confession that Jesus actually confirms this. John's Gospel is not entirely dissimilar. There there is much more speculation from people: Andrew announces to Simon Peter that he has found the Christ in 1:42, likewise the woman at the well (4:26), unnamed people in the temple (7:27-42), those at the Feast of Dedication (10:24) and Martha (11:27). But Jesus never gives a straight out yes to the "Messiah" question even in John until he brings it up the night before his death in 17:3.

    Jesus realises Simon's military/political expectations need to shift so coaxes Simon into showing him his sica (dagger), which Jesus then tosses into a nearby pond. " You have no use for that?" asks Simon. Jesus' response – "I have a better sword..." – is interesting as well. I'm presuming the scriptwriters mean "sword of the Spirit, which is the word of God" from Ephesians 6:17, but it's not a metaphor Jesus used himself a great deal aside from "I come not to bring peace, but the sword" (Matt 10:34). 

    Otherwise Jesus' best known pronouncement on swords is "those who live by the sword will die by the sword" (Matt 26:52) which this conversation from The Chosen captures nicely. I wonder if the show will return to Jesus' use of sword here, or not. Incidentally, Paul's use is interesting because he exchanges one metaphor for what is probably another. I was brought up believing Paul meant the Bible – even though that didn't exist at the time Paul was writing – which would, then, be a metaphor, but there's no real consensus on what he does mean, or even if he always uses it consistently to refer to the same thing. It's perhaps never 100% literal, but using "word" as meaning something God says is certainly closer to that than if he meant "the Bible".

    Anyway, I digress. I'm really interested to see how the character of Simon the Zealot (as he's known in Luke. In Matthew and Mark he's known as Simon the Canaanean) will develop. He's largely sidelined by Jesus films, except perhaps the occasional line to confirm that, yes he's the one who believes(d) in violently overthrowing the Romans. He gets a whole song in Jesus Christ Superstar but it's actually more common for Judas to represent the Zealot cause than Simon. So I'm keen to see how that will work in the remainder of The Chosen with it's much greater screen time and it's more committed focus on the disciples.

    Incidentally, Simon's sword is retrieved moments later by a thoughtful looking Atticus. Does he take this as evidence that Jesus is associating himself with violent men or as a sign that he is brining peace not the sword?

    The other John

    It's in this episode that we finally get to meet John the Baptist. Guven that The Chosen seems to start around the beginning of Jesus' ministry it's interesting that there is no baptism scene. In the Gospels we see this progression in the story from gospel to gospel which tallies with their respective ages: Mark seems to hold John in the highest regard; by the time we get to John a few decades later it's unclear whether Jesus was even baptised by John. The progression here – omitting the scene of Jesus being baptised entirely – seems kind of in keeping with this.

    It's clear though that Jesus and some of his disciples have a longer relationship with John the Baptist, including those who followed him before following Jesus. John is described as Jesus' cousin (I suppose technically he's his second cousin) and it seems Andrew and John son of Zebedee also followed the Baptist before they followed Jesus. Previously we've also heard Simon Peter refer to him as "Crazy John", but the extent to which that's based on having met is unclear to me.

    The portrayal of John here is really interesting, particularly compared to other portrayals of John the Baptist in other Jesus films. Whereas he tends to be very two-dimensional in most on-screen portrayals (the courageous, but wild prophet) here he's much more developed as a real person right from the start. Yes, he looks wild (not least because of one of the series' few unconvincing beards) but the conversation between him and Jesus really gets behind the caricature. John and Jesus have an obvious strong affection and yet disagree on tactics. Jesus is concerned on a human level for what will happen to John is he continues to publicly criticise Herod. In contrast, John is concerned Jesus is being too safe. Yet there's also a mutual respect that each is probably taking the path they are called to.

    This aspect of their conversation leads to one of The Chosen's best lines so far. When John challenges what he sees as Jesus' over-reliance on stories, saying "I'm eager for you to get to the point, Jesus counters with "I'm going to tell stories that make sense to some people, but not to others and that's just how it's going to be". I think this is a brilliant way of unifying the various things the Gospels have Jesus say about parables and while avoiding the technical discussion that often accompany efforts to make them make sense.

    And finally...

    This is not the only occasion in this episode where the series is prepared to break protocol and get behind the caricatures (I guess that's essentially what The Chosen is all about). Having been traumatised by encountering a Roman soldier and then having been directly addressed by Caleb's demon and reminded of that area of her past, she runs off. Jesus (slipping into a delegating leader type role) asks Ramah to go and check she's OK (the two have been reading scripture together imperfectly moments before), but later she's no where to be found. The camera catches up with her going back to her old haunts and Jesus – clearly concerned – sends Peter and Matthew after her. Is she going back to confront her old life or return to it? One for episode 6 I guess.

    Peter is not initially overjoyed about being sent by Matthew. Indeed Matthew is getting a hard time from the other disciples in this episode. Early on Thomas argues with him before admitting he thinks Matthew’s arrogant and dislikes that he was a tax collector. I do like how the series makes us root for Matthew in these contexts and shows Jesus doing the same. Perhaps the next episode will give him the chance to be something of a hero.

    ===========

    *Hezser, Catherine (2001) Jewish Literacy in Roman Palestine (some excerpts at Google Books), some at academia.edu – see also Chris Keith (2011) Jesus' Literacy: Scribal Culture and the Teacher from Galilee
    I'm grateful for discovering foreverdreaming.org which features transcripts of many episodes. Wish I'd come across that before.

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    Friday, December 27, 2024

    The Fourth Wise Man (1985)

    With Mary, performing so well for Netflix at the moment, I've decided to track down/re-visit a couple of other performances around the Nativity story.

    Top of my list is The Fourth Wise Man (1985) starring Martin Sheen and Alan Arkin, as well as Charlie Sheen in a bit part role. The film is an adaptation not only of the Gospels, but also of Henry van Dyke's 1895 book "The Other Wise Man", itself a reworking of the Befana/Babushka stories from Italian/Russian folklore. As the title suggests, the film features Sheen (snr.) as Artaban, another wise man, who misses his rendezvous with his now-more-famous colleagues. Instead of seeing Jesus in Bethlehem he spends the next 30 years trying to catch up with him, repeatedly getting distracted by people who need his help, unable to resist the yearning to do something for them rather than follow the saviour. And of course it turns out that he was "following" him all the time.

    This is not the only time the story has appeared on our screens. Another TV movie, The Other Wise Man was broadcast in 1953 and narrated by none other than Ronald Reagan. More recently, an animated film, The Fourth King reached our screens in 2007 and featured as part of our family's Christmas viewing for a few years.

    Unsurprisingly, Sheen is good value in the lead role. The way his character lays aside his privileged background to focus on folksy, pragmatic, leadership tackling problems affecting those on the margins of society, feels strongly reminiscent of his role as President Bartlett in The West Wing in what feels like another world these days. Artaban is a physician as well as a magi and inevitably ends up helping those who need his medical insights rather than his astrological ones.

    Arkin, almost 20 years after his Academy Aware nomination for The Russians Are Coming the Russians Are Coming (dir. Norman Jewison, 1966), provides some of his trademark pithy humour. He plays Orontes, Artaban's world-weary slave, on a promise from Artaban's father of gaining his freedom if he returns his son to him safely. As Artaban's mission extends indefinitely he comes to resent the supposed humanity of his master's compassionate side which keeps him trapped in servitude indefinitely. Only when he tries to leave does he realise the innate worth of the life he has lived.

    Both men seemed to involve their families in the production. In addition to Charlie Sheen's cameo, his brother and his sister Ramón and René were in the cast, as was their uncle (and Martin Sheen's brother) Joe Estévez -- thanks to Angel Sanchez's review for that observation. Similarly Arkin's then wife Barbara Dana and son Adam also make brief appearances. Veteran's Eileen Brennan and Ralph Bellamy round out the cast. James Farentino, best known round these parts for his portrayal of Simon Peter in Jesus of Nazareth (1977) provides the voice of the adult Jesus as the film draws towards its conclusion.

    Nevertheless. the production itself is fairly unremarkable and a little on the corny side at times (even by the standard of biblical Christmas movies). You don't have to be familiar with the source material to spot that Artaban is going to spend his life being so distracted by living as Jesus would want him to that he never manages to encounter Jesus himself until it's too late.

    It's a funny myth in some ways because if the story rests on Jesus being some kind of revelation of a higher moral code, it also suggests that those characteristics can spring up regardless of whether one is familiar with Jesus and his message. Readers will have their own views on which of those two tenets they favour, but acknowledging both seems a little inconsistent. But then this tension goes back to the Bible itself, as typified in Matthew 25:37-40, which ends up being directly quoted by the screenplay late in the film.

    Michael Ray Rhodes's direction is workmanlike, if uninspired and the low budget of the production and its 80s TV vibe do little to help matters. Nonetheless, its message that following Jesus means preferring the needs of the poor and vulnerable to our own personal goals, still seems to be one that many who take his name need to do more to acknowledge.

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    Saturday, December 21, 2024

    Mary (2024)

    This is my fourth attempt at writing a review for Netflix's new film Mary (dir. D.J. Caruso), which is certainly far more attention than I'd planned on giving it originally. That's partially driven by my business in my day job -- not to mention the season -- but it's also because while I was not particularly taken by the film on my first viewing, it's become a little more interesting as I've grappled with how to write about it.

    One of those questions is the team behind it. In many ways Mary is a bit of a left-field offering for Netflix. One critique of the film I read, said that Hollywood never does the Bible right. This surprised me, because even without having read much about it, it felt every inch like a Christian Bible movie. I've seen enough to know the signs. 

    It turns out that this is essentially a faith-based film. The film names televangelist Joel Osteen as one of its executive producers as well as Adam W. Schindler, from the right-wing think-tank America First Policy Institute, as is its biblical scholar. Moreover, director D.J. Caruso's last film was another faith-based effort Shut In (2022) and before that he directed Redeeming Love (2020), the not-quite-modern-day adaptation of the Book of Hosea.

    Yet Caruso is coming from a very different faith background to Osteen and Schindler. Caruso is a Roman Catholic, as he revealed in a fascinating interview with my friend Peter Chattaway. So while the film is essentially conservative, in that its presentation of Mary is unlikely to shock or surprise anyone, it doesn't feel like a right-wing evangelistic film.

    Caruso's Catholic background is apparent right from the start as the film begins with the events surrounding Mary's birth. These episodes are not included in the canonical gospels, but do feature in the Protoevangelium of James (also known as the Infancy Gospel of James) from the second half of the 2nd-century AD. While the film doesn't overly dwell on this part of the story, it does include a number of its initial elements: Mary's parents are called Anne and Joachim; Joachim goes into the dessert while Anne prays for a child at home; an angel reveals that they will have a child; it's understood that there's something miraculous about the conception; then when she's young she is sent to the temple. 

    From there things diverge and the focus moves to the palace of Herod the Great (Sir Antony Hopkins) while Mary grows up. Having snagged a major star like Hopkins, the screenplay gives him plenty of screen time, but it's clear that Caruso is unable to get the best out of him. The performance from the two-time Oscar winner is well below the level of everything else I've seen him do. It's tempting to blame his age, until you remember that he was nominated for an Oscar less than 4 years ago for his portrayal of Pope Benedict in The Two Popes (2020). 

    Hopkins has long had an active Christian faith and taken many faith-related roles over the years from St Paul in Peter and Paul (1981) through to Methuselah in Noah (2014) and the recent Freud's Last Session (2023) where he played the titular psychoanalyst debating God's existence with a fledgling C.S. Lewis. Perhaps he was just too keen to accept the role he didn't vet it as well as he might have.

    Certainly there are problems with the script. For one thing it seems to lack a sense of conviction, unusual for a Christian movie. I've always thought The Nativity Story (2006) tried to be three different kinds of film (a gritty coming of age drama at the start, a historical road movie adventure in the middle, and a traditional Christmas card schmaltz-fest at the end), but it certainly had no shortage of ideas or ambition. He's it's hard to work out what we should really care about.

    I think that's partly because the film is far more interested in its male leads than in its eponymous hero.  Hopkins murders his way through wives, sons and workers, in order that we can be quite clear that him slaughtering of Bethlehem's innocents is very much consistent with his character. Joachim too gets far more developed than he has been in previous Nativity movies. But Mary, for all her screen time, feels rather underdeveloped. She takes in all the things happening around her, but is essentially a passive character. The subtlety of Noa Cohen's performance might be more revealing in the hands of a different director, but here any real sense of who Mary was is lost.

    Yet while the film fails to really land Mary's character, it has a far more developed take on Joseph. For one thing it eschews almost all sense of him having second thoughts about marrying Mary and recreates him as someone who loves her completely from first sight. His character diverts significantly from his role in James, and to a lesser extent Matthew and Luke, but it does so in interesting ways, even if the scene where he thrusts a short sword into Lucifer's back, in a possible fantasy sequence, feels out of place. His unbridled devotion though, which plays as more than just strong teenage emotions, is quite a refreshing angle to look at things from.

    The one female character who does get developed fairly well, at least far more significantly than in Luke chapter 2 is Anna, the female prophet who "never left the temple but worshipped night and day, fasting and praying" (Luke 2:37). Anna befriends Mary, when she first gets sent to the temple, and defends her later on when Mary's pregnancy is discovered later on. She appears as a mentor to Mary. The film also has Mary's mother and Elizabeth present at the birth, which was featured in the 2003 BBC documentary The Virgin Mary but not in any other onscreen depictions that I can recall.

    Visually there's the occasional nice shot some of which reflect classical compositions and poses without feeling forced or sappy, but things feel a little too pristine and sterile at times as well. Moreover, as with most Netflix productions much of the quality props and sets are lost to the over-dark lighting. That doesn't appear to be a tribute to "O Little Town of Bethlehem" with its mention of "the dark streets", not least because the film's biggest failing is that it never fully manages to convey the "everlasting light" which will finally meet "hopes and fears of all the years". That is the real heart of the story, but it remains unignited here.With more heart, conviction and, above all, hope, Mary's flaws might have disappeared a little more into the background. Instead its notable elements are overshadowed and its blessings left unimparted.

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    Wednesday, October 30, 2024

    Marginal Noah's Ark cartoons

    I recently posted a list of 'all' the screen productions to adapt the story of Noah and the flood. As ever with these things you soon remember how impossible it is to list them 'all': there are just too many. With a story as popular as this there are always brief fantasy sequences where lead characters imagine themselves as Noah, or something that someone has just created for YouTube (how many views of an original Noah adaptation make it a worthy production in itself).

    Anyway, as part of that process I went back on forth several times on a handful of films that all landed somewhere around the cut-off line, and, seeing as I'm wanting to post some brief thoughts about some of the Noah / flood / Ark films I've watched recently, I thought I'd start with these, particularly as the first two go back to the 1920s.

    Amateur Night on the Ark (1923)

    Between 1921 and 1929 American animation pioneer Paul Terry produces a series of over 450 cartoons called Aesop's Fables Cartoons, the earliest of which, such as The Cat and the Canary (1922) were more closely related to Aesop than Amateur Night on the Ark. Terry had started out at Thanhouser animating a character called Farmer Alfa, and when he left them in 1917 to set out on his own he brought his "star" Alfa with him. 

    The Alfa character a bald older man with a white beard, featured in many of Terry's silent animations and here he appears as the sole human aboard a steamboat called "Ark" which aside from the chimney emit smoke as it powers the boat forward, otherwise resembles Noah's Ark (see above). But he's never identified as Noah, and his role doesn't really correspond to the biblical character. The Amateur Night" is a variety show which families of animals (certainly not just pairs) turn up for, and Alfa is takes the door money. Later he appears on stage, but is chased off stage when a box match he is performing in is exposed as a fake. 

    Really, then, Terry's black and white cartoon uses aspects of the Noah story, the shape of the boat, the look of the character, the exotic animals, in a more modern context, with a certain amount of  anthropomorphising of the animals. However, aside from the use of the word “Ark” and the presence of animals and an older man, Amateur Night has little to do with the flood story, other than cultural resonance, so I might not qualify it at all as a Noah film, but for it's similarities with... 

    Availability: YouTube.

    Noah's Lark (1929)

    As with the above, Noah's Lark, directed by Dave Fleischer, starts off as recognisably as a modern-twist on the biblical tale. Noah is portrayed as a modern-era sailor replete with an anchor tattoo on his forearm and accompanied by The Sailor's Hornpipe. If that all sounds a little reminiscent of a certain spinach-chumping sea-farer then you won't be surprised to know that it was Dave Fleischer's big brother Max who adapted the Popeye comic strip for the screen in 1933 (the comic strip began in 1929 as well).

    As with Amateur Night the original biblical premise, a bunch of animals stuck on a boat captained by a human, is merely a leaping off point for Fleischer's flights of fancy and artistic imagination. Here it spins it off far beyond the typical edges of what that usually entails, as the animals -- who here seem more of a crew -- arrive on land to a fairground and get involved in all kinds of antics and visual jokes (a monkey plucking a tiger's stripes as bass notes in the soundtrack being a particularly good gag given this cartoon was from the early months of the talkie era).

    So again the links to the biblical story are fairly tangential, but the use of the song "The animals came in Two by Two" over the opening credits, the explicit reference to Noah in the title, and the pun on Ark, the fear of the (flood) waters and perhaps just the sense of their joy/relief when they arrive on land once again tip their hat just a little more in that direction than the previous film. 

    Availability YouTube.

    Yogi’s Ark Lark (1972)

    As with the above films, Yogi's Ark Lark has little to do with the flood story, other than cultural resonances. Again the boat in question is called “Noah’s Ark” and their are animals (Yogi Bear and a host of his other, early 1970s Hanna Barbera cartoon colleagues) and an older man who is named Noah. Essentially Yogi and friends get together and share their worries about the state of their home environments, such as their homes are being destroyed by litter and over-population and so decide to leave it all behind on an ark and head off in search of "the perfect place" (a phrase that becomes the title of a song that is used regularly throughout the show).

    What was interesting for me was how the complaints about the state of the world were far more soft-right than you would get on this kind of show today making a host of usually fairly wacky characters seem rather old in yearning for a lost past they (presumably) ever experienced. Moreover, ultimately , they decide on a rather ‘Big Society’ solution of sorting out those issues themselves, with Top Cat and Lenny, for example, deciding not only to clean up their alley, but their entire city.

    It all makes for pretty dull entertainment. Jokes are thin on the ground, with even the moments of slapstick falling short (actually if anyone had literally fallen short of something, it might have been the funniest thing in the programme) and the Noah parallels are extremely thin indeed. The Noah character really only feels like he's been brought on board [wink] to make the catchy title stick.

    Availablity: archive.org.

    Animaniacs: Noah’s Lark (1993)

    The Animaniacs take on the flood story comes in episode 33 Cartoons in Wakko's Body where it sits alongside two other stories The Big Kiss and Hiccup. I'm not overly familiar with Animaniacs, so my comments will probably seem a bit odd to those who know the show, but essentially this is a kids-focussed cartoon, although very much with a few adult jokes smuggled in for the benefit of any adults watching. The New York comic style of deadpan humour is particularly to the fore, not least in Noah’s detached cynicism. Other jokes include some late-to-the-party, yet snobby, hippos and Noah’s fear of spiders.

    Jokes aside this one sticks fairly closely to the plot. It's certainly far more recognisably a Noah story than the three episodes above. Interestingly, Noah (pictured above) is a lot younger here with dark hair and no beard. He also likes playing with one of those table tennis bats with the ball attached to it with a bit of elastic. While I'd have to consult with an archaeologist to be sure, I don't think those are in the Bible...

    Availability: The only place I found this online gave me PC issues.

    (Image taken from the Cartoonatics blog)

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    Monday, October 21, 2024

    Gospel Films Library: Scores of old Bible films free on GFA's new website

    At various times in the past I've mentioned the wonderful work done by Bob Campbell and the rest of the team at the Gospel Films Archive in preserving mid-20th century biblical films and other Christianity-related films. 

    So it's really exciting to mention their new website – Gospel Films Library – where you can now view dozens of old biblical movies, not only for free, but also without any ads etc.

    There's a really good range of these films available from short, rarely-treated stories from the Hebrew Bible such as Ruth (1948) to those released in cinemas such as Day of Triumph (1954, my review). When I think about what I had to go through to watch this film when I first got into Bible movies around the year 2000, it's incredible how easy it is now!

    There's a bunch of films I've already reviewed, such as the Living Christ series, No Greater Power (1942), The Living Bible : Old Testament series and Queen Esther (1948) as well as those I'm planning to review when I get a moment. There's also a making of documentary for Day of Triumph  which I am looking forward to seeing.

    One of the things that is really good about the new site is that it seems really easy to navigate – it's laid out nicely like a modern streaming service. And for those who might prefer (and are based in the US/Canada or Mexico) you can also stream it on Roku. Check it out and bookmark it as I'll be reviewing some of these films in the coming weeks and months.

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    Sunday, October 13, 2024

    Noah's Ark: A Musical Adventure (Arca de Noé, Brazil, 2024)

    Two mice in the foreground look at Noah's Ark in the background

    Despite all my research into the story of the flood in recent months, somehow I almost missed the release of Noah's Ark: A Musical Adventure, or as it is known in it's native Brazil, simply Arca de Noé. It's an animated film that sits squarely in the box of animation for kids and hit theatres in the UK rather aptly during the summer holidays when parents often find themselves seeking shelter from the rain.

    Arca is inspired by a 1975 poem by Brazilian poet, musician, playwright and diplomat Vinicius de Moraes, perhaps best known outside of his own country for pioneering bossa nova music on the soundtrack for Orfeu Negro (Black Orpheus, 1959) along with his co-writer Antônio Carlos Jobim, singer Elizeth Cardoso and guitarist João Gilberto. Moraes' poem (translated here) offers a loving tribute to the biodiversity of the flood story. Noah gets a mention, early on but Moraes quickly moves on to his family, before there's a flurry of neat little descriptions of animal activity overflowing with life.

    If this adaptation of the flood story comes to us via Moraes, directors Alois Di Leo and Sergio Machado and their writers Heloísa Périssé and Ingrid Guimarães have certainly brought in plenty of their own ideas too. Neither the Bible nor Moraes talk about two musical mice who having not received an invitation to board the ark, delivered courtesy of literal blue birds, are determined to try and get on anyway. The bluebirds, certainly as represented by their leader Kilgore, tip the hat to various cultural landmarks: the delivery company; Apocalypse Now;* the former Twitter logo; and the computer game turned movie Angry Birds. In a way they typify the movie, which always feels like it's trying to be, or at least refer to, something else. At times it feels like Madagascar (2005) or Singin' in the Rain (1952) or The Lion King (1995). Even Noah's quirky coloured shades seem to borrow from El Arca (dir: Juan Pablo Buscarini, 2007) although I suppose that may in turn derive from an illustrated children's book based on Moraes' poem that's popular in both South American countries. 

    Like various animated re-tellings of the flood story, Noah's role is fairly small (the last animated Noah film to percolate down to local cinemas in the UK, 2015's Two by Two, left him out entirely). We witness him hearing God's call at the start of the film, and he crops up regularly throughout, but we do so mainly because one of the film's two rodent heroes Vini and Tom/Tito awakes during the moment of revelation and so goes to investigate.

    The moment itself draws on God's call to Moses in films like The Prince of Egypt, although here the booming words from the sky are accompanied by southern lights-style colours in the sky. This is particularly apt given that I've been enjoying their northern counterparts causing wonders this week amidst the aesthetically pleasing aftermath of the X7.1 electromagnetic solar storm.

    In a strange sort of way it's God's part of the conversation with Noah that seems most reminiscent of the call of Moses. God does not come out of it particularly well. He's presented as unstable and unpredictable. Initially he tells Noah of his plans to destroy the world and the audience can sympathise with Noah when he questions what he's told with "don't you think that's a bit much?" Recently I've been comparing the way Jewish tradition contrasts Noah, who in the Bible fails to protest when God informs him of his plans, with Abraham and Moses, both of whom question God and win some concessions as a result. So if God is shown in this film to be a bit changeable, that certainly has its origins in the Bible. 

    Soon after, God moves into a more angry mode when Noah fails to agree straight away: "am I stuttering?" he thunders back in a way that will perturb both fans of the Bible/Torah/Qur'an and anyone who, like me, is finding the repeated use of that particular phrase deeply grating. But then when Noah asks what God's going to do while he is building the boat, God seems slightly hurt as he suggests "I can get the invitations out". 

    Having realised God's plans, the two mice (or are they rats? I'm sure they're called both during the course of the film) decide to try and sneak aboard, even though the invitations are quite clear that it's only one male and female of every species. Back at Noah's house this part of God's dictum is also causing some consternation. "What about other types of families?" Noah's granddaughter Susana asks. It's fair to say Susana is not on board with the whole operation. When her grandfather fist reveals his plans she exclaims "What if everyone drowns? That's going to look so bad for him."

    Interestingly Susana becomes the film's most prominent human from that moment on. She's a similar age to most of the film's target audience (about 7 I would imagine) and is enchanted by and becomes friends with many of the animals. Still it's interesting that concerns that pass many by are put so simply and eloquently on the lips of a young child. From a biblical point of view, it's interesting that Noah's three sons are not really part of the film. Susana is not presented as an orphan, nor is there any mention of them. Given the kind of film this is, I think that's quite a bold and positive move. The symmetry of the eight people on board the ark in Genesis doesn't completely preclude infants, and it makes the story far more relatable to its core audience (children).

    Noah frantically tries to repair a hole in the Ark

    The film's other interesting decision in this respect is that -- aside from the call of Noah -- Noah's wife (called Ruth here) gets equal screen time her husband thereafter. This is something of a first. Both Jennifer Connelly in Noah (2014) and Joanne Whalley in The Ark (2015) play more-developed versions of Noah's wife than the character found in the Bible whose actions and contributions are not recorded; whose words are not documented; and who is mentioned only as a passenger. Here her contribution is certainly felt. She brings warmth, wisdom and compassion to proceedings, a care for the animals and for Susana. 

    More recent depictions of the flood story, particularly 2014's Noah, have been criticised for their all-white casts (see Wil GafneyMicah David Naziri and Ryan Herring for example). But this film is not a Hollywood film, it's from Brazil, a country where, according to its latest census, "45.3% of the country’s population reported being brown.... 43.5% reported being white... 10.2%, black". So it's perhaps not surprising that this ethnic mix is reflected in the three human characters: Susana is depicted with brown skin, Noah is White and Ruth is depicted as and voiced by a Black woman. It's surprising that it's taken so long for this mix of nationalities to emerge, given that the conclusion of the story is that all people (and thus all ethnicities)  come from the handful of humans who survive the flood.

    If questions about "other types of families" and the use of a diverse 'cast' sound a little too modern, then this probably isn't the film for you. The film delights in slipping anachronistic elements of the modern world into this almost pre-historic story. There are mentions of selfies, body shaming and going viral. The Scar-esque male lion Baruk even tells the other animals to "give me a like" at one point. 

    Anyway, having got wind of the ark's imminent departure, Tom and Vini (who is presumably named after Moraes) try to get onboard anyway. Their first effort sees them simply walking up the gang-plank along with all the other animals, simply hoping not to get seen. However, as they progress up the slope their mood turns to fear. Indeed, there's an unusual atmosphere among all the animals. The film really brings out their differing concerns. Big creatures are concerned about stepping on smaller ones. Some worry other animals will eat them. The latter fears turn out to be not without foundation. When the verbosely loquacious Baruk and some of his predator cronies see so many animals in such a confined space they draw on another modern phrase describing the scene as an "all you can eat buffet". I can't quite work out if giving the lion a very similar first name to a recent US President is a deliberate reference to American self-interest overseas, but perhaps I'm reading too much into that.

    But the musical duo's initial efforts flounder when they meet Nina, the female mouse who had received an official invite. Having two male mice turn up throws her off guard and the resulting kerfuffle sees plan come into action. A second, much smaller boat, housing some of the other less-desirable animals has set sail to try and board the ark surreptitiously. Here we find that the cockroaches, mosquitoes and head lice turn out to be of a far greater moral character than the king of the beasts, Baruk.

    Despite Baruk having seized control of the assembled animals, through fear and intimidation, he has one fatal flaw -- a desire to be lauded as a musician and it's here where the mice and their new friends are able to use their musical prowess to save the day. But this whole extended section is overly complicated and dull and even an interesting subplot involving a low-on-confidence dove can't keep the second half afloat. Moreover, despite a number of songs being crammed into this final section, none of the film's music really stands out. I wanted Tom and Vini to have at least one really good ballad. 

    That said, the film is certainly not as bad as its current 4.3 rating on IMDb suggests. There are some interesting ideas as well as some fun ones and, among the plethora of nods to other films, there's some originality there as well. That's quite an achievement given 4000 years of adaptations of the flood story. So even if it's nowhere near The Prince of Egypt (1998) its certainly superior to 2002's Jonah a VeggieTales Movie.  

    * I owe that observation to Jeremy Clarke's review of the film.

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    Saturday, September 21, 2024

    'Full' list of Noah and the Ark films

    The above still is from Ermanno Olmi's Genesi: La creazione e il diluvio (Genesis: Creation and Flood, 1994) part of The Bible Collection

    Many years ago I posted a "full list" of Adam and Eve films though it's perhaps not as complete as I thought it was back then. Nevertheless, given I'm looking at Noah films at the moment, I thought it was about time I posted a similar list of films about the flood and Noah. 

    I've restricted these to films which either try and tell the story set in the ancient world, or that are offering a direct modernisation. That means I'm excluding films like Peter Weir's The Last Wave (1977) which offer modern parallels, but not explicitly, or Moonrise Kingdom (2012) which draw on the imagery and meaning, but aren't really 'doing the story' so to speak. Due to the short amount of material available I am including films where the Noah segment is only a significant part of a longer movie. I have included a couple of documentaries with dramatised sections, but I'm not sure about those. I might take them out later!

    I'll be adding to this as I go along over the next few weeks, but for now, here's the list:

    The Tale of the Ark (dir. Arthur Melbourne Cooper, UK: 1909)
    The Deluge (dir. Richard Strauss, USA: 1911)
    Photoplay of Creation (dir. Charles Taze Russell, USA: 1914)
    La Sacra Bibbia (dir. Armando Vay & Piero Antonio Gariazzo, Italy: 1920)
    The Bible: The Deluge (dir. Rev Harwood Huntington & Edgar J Banks, USA: 1922)
    The Bible: Noah and the Ark (dir. Rev Harwood Huntington & Edgar J Banks, USA: 1922)
    • Noah's Ark (dir. Michael Curtiz, USA: 1928)
    • Amateur Night on the Ark (dir. Paul Terry, USA: 1923)
    Noah's Lark (Dave Fleischer, USA: 1929)
    Father Noah's Ark (dir. Wilfred Jackson, USA: 1933)
    Deluge (dir. Felix E. Feist, USA: 1933)
    • Noah (BBC) (dir. André Obey, UK: 1946)
    The Green Pastures (dir. Marc Connelly & William Keighley, USA: 1936)
    Noah's Ark (dir. Bill Justice, USA: 1959)
    • Noah (pr. BBC, UK: 1960)
    Mel-o-Toons: Noah's Ark (dir. unknown, USA: 1960)
    I patriarchi (dir. Marcello Baldi, It: 1963)
    Noah (wr. Joost van den Vondel, Belgian: 1964)
    The Bible : In the Beginning (dir. John Huston, USA/It: 1966)
    • Mister Magoo's Noah's Ark (dir. Abe Levitow, USA: 1965)
    • Yogi's Ark Lark (dir. Joseph Barbera & William Hanna, USA: 1972)
    In Search of Noah's Ark (dir. James L Conway, USA: 1976)
    Greatest Heroes of the Bible: The Story of Noah (dir. James L Conway, USA: 1978)
    Genesis Project: The Bible: Genesis (Prod: Campus Crusade, US: 1979)
    • The Greatest Adventure: Stories from the Bible: Noah's Ark (dir. Don Lusk; Ray Patterson, USA: 1986)
    In the Beginning: The Story of Noah (dir: Osamu Tezuka, Jp/It: 1986)
    Die Arche (dir. Klaus Georgi, E.Germany: 1987)
    Noah (dir. Thomas Stephan, E.Germany: 1990)
    • Animaniacs: Noah's Lark (dir. Greg Reyna, USA: 1993)
    Genesis. Creation and the flood (Genesi: La creazione e il diluvio, dir. Ermanno Olmi , It/D/USA: 1994)
    Enchanted Tales: Noah's Ark (dir. Hazel Morgan, USA: 1994)
    • Testament: The Bible in Animation: Creation and the Flood (dir. Yuri Kulakov, Russia/UK: 1996)
    • Noah's Magic Ark (dir. Laura Shepherd, USA: 1996)
    Prophets Stories: Story of Nuh (dir. unknown, Egypt: 1998)
    Noah (dir. Ken Kwapis, USA: 1998)
    Noah's Ark (dir. John Irvin, D/USA: 1999)
    Fantasia 2000 (dir. James Algar, Gaëtan & Paul Brizzi, USA: 1999)
    Noah: He Walked With God (prod. Jehovah’s Witnesses, USA: 2004)  
    Evan Almighty (dir. Tom Shadyac , USA: 2007)
    Ark (dir. Grzegorz Jonkajtys, Marcin Kobylecki., Poland: 2007)
    El arca (dir. Juan Pablo Buscarini, Argentina/Italy: 2007)
    The God Complex (dir. Mark Pirro, USA: 2008)
    Veggie Tales: Minnesota Cuke and the Search for Noah's Umbrella (dir. Mike Nawrocki & John Wahba, USA: 2009)
    The Search for Noah's Ark (dir. Matt Bennett, UK: 2012)
    Unogumbe (Noye's Fludde) (dir. Mark Dornford May, South Africa: 2013)
    The Bible (dir. Crispin Reece, US: 2013)
    Noah (dir. Darren Aronofsky , USA: 2014)
    The Ark (dir. Kenneth Glenaan, UK: 2015)
    Veggie Tales: Noah's Ark (dir. Mike Nawrocki, USA: 2015)
    Oops Noah has gone (Two by Two) (dir. Toby Genkel & Sean McCormack, Germany, Belgium, Luxembourg, Ireland, USA: 2015)
    Stories of the Prophets: Prophet Nuh (prod.Visagaar Entertainments, 2017)
    Good Omens (dir. Douglas Mackinnon, UK/USA: 2019)
    Noah (dir. Douglas Mackinnon [Sight & Sound], UK/USA: 2019)
    Noah and the Flood (dir. Robert Savo, Bulgaria/Morocco: 2021)
    Days of Noah (dir. Dalton Thomas, Israel: 2022)
    Ark and the Darkness (dir. Ralph Strean, USA: 2024)
    Gênesis (Series) (prod. Record TV, Brazil: 2024)
    Noah's Ark: A Musical Adventure/Arca de Noé (dir. Alois Di Leo, Sergio Machado, Brazil/India/US: 2024)

    A few notes

    I've gone round and round in circles as to whether to include Amateur Night on the Ark (1923) and/or Noah's Lark (Dave Fleischer, USA: 1929) but ultimately decided to keep them both in, partly due to their proximity to one another both historically and in how they handle the material. Both are early, animated, black and white cartoon from the late silent era which use aspects of the Noah story in a more modern context, with a certain amount of anthropomorphising of the animals. For me, though, aside from the use of the word Ark and the presence of animals and an older man, Amateur Night has little to do with the flood story, other than cultural resonance. Noah's Lark, on the other hand, starts off recognisably as a modern-twist on the biblical tales, even if Fleischer's imagination and artistic freedom spins it off far beyond the expected edges of what that usually entails. They're both available on YouTube so let me know below if you disagree. 

    There's a little more about Felix E. Feist's Deluge in this BFI article about disaster movies. It wrongly, in my opinion, calls it the first disaster movie. I think that title belongs to one of the early Last Days of Pompeii films, probably the 1908 one. Based on the description I'm also not entirely sure it merits its place on this list. But I'll leave it in for now.

    I patriarchi (dir. Marcello Baldi, It: 1963) is often appended to the start of Giacobbe, l'uomo che lottò con Dio (Jacob: The Man Who Fought with God, 1963).  

    Mister Magoo's Noah's Ark was perhaps released as part of a compilation of episodes called Mr Magoo at Sea along with his retelling of "Moby Dick" and Treasure Island (source TV Guide).

    As with Amateur Night on the Ark above, Yogi's Ark Lark (Hanna Barbera, 1972), featuring Yogi Bear, Top Cat and a host of other Hanna-Barbera characters from the 1970s, probably falls the wrong side of the line in terms of it's use of the flood story. For one things there is no flood, and the only animals on-board are the anthropomorphised Bear and his friends, most of whom lack life partners. The title and biblical imagery is more of a prop for a round the world trip in search of the "Perfect Place" away from damage to their local environment(s).

    One film I might have included but felt it didn't quite meet the criteria is The Noah (1975) written and directed by Daniel Bourla. It's a post-apocalyptic film best known for featuring Robert Strauss's last performance. From what I've read this is more metaphor than adaptation, but I may adjust this once I've actually seen it.

    The two East German made short films Die Arche (1987) and Noah (1990) do appear to be different films, the first directed by Klaus Georgi, the latter (also known as Das Volk sind wir, that is we are the people) directed by Thomas Stephan. According to filmportal.de the latter was also part West German funded. 

    An earlier version of this list included a title called L'Ancien Testament Tome: Le déluge (2005) cited by Verreth which he seems to have taken from this DVD set as the episode titles are identical. I can't quite read the writing at the bottom, but I did find another French website here which gives a cast list, and all of those actors performed in the 1978 series The Greatest Heroes of the Bible, already listed above. I suppose that could be an incredible coincidence, but that seems a pretty open and shut case. I could possibly have made a whole post about that detective job, and I suppose I still might if only to preserve the screen-grabs (I can't seem to that on archive.org at the moment).

    "The Encyclopedia of the Bible and its Reception" entry on Noah includes The Story of the Prophet Nuh with Zaky (2009), but having watched this on YouTube, I don't think it really merits its place. It's not even an animation, just some narration over still images, with an occasional very basic animated effect.

    An earlier version of this list included a title ¡Ups! El arca nos dejó (dir. Ana Medellín, Miguel Valdez-Lopez, 2015), but it turned out that this was an episode of a review show which covered Genkel & McCormack's film Two by Two, which incidentally has a separate IMDb page for a version of it called by another title All Creatures Big And Small (2015).

    Gênesis (2024) is a Brazilian telenovella which is running at the time of posting. There's more about it on Record TV's website (the producers) including some footage from each episode, but I couldn't get all the way back to the start to count the episodes and I haven't the time right now to fully research it. Noah definitely features though.
     
    Last updated: 21/10/2024

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