Mesih (Jesus, the Spirit of God, 2007)

Nader Talebzadeh's Jesus, the Spirit of God (2007) is the first Islamic film about Jesus. One of the reasons that a Muslim film about had not been done before was because the Sunni form of Islam does not permit portrayal of prophets, indeed the hadith discourages portrayal of all humans and animals in general. Secondly however, the Qu'ranic material about Jesus (who it calls Isa) does not fall so conveniently into entire books as it does in the Bible, or even in the same way as the Qu'ran treats other Islamic prophets such as Noah, who have their own surah (71).

To produce his Islamic Jesus film, Talebzadeh turned to another text, the Gospel of Barnabas. The origins of this gospel are unclear. There are mentions of a gospel bearing Barnabas' name from even before the formation of the canon in the fourth century, but there are few compelling reasons to believe that this is the same text we have today. Tales abound of the book being secreted away in a fourth century pope's private library, but there's little news of it until its re-emergence in the seventeenth century.

It's perhaps no surprise, then, the text we have today is fairly unusual. It's far longer than any of the canonical gospels, and contains almost all of the material from Matthew, Mark, Luke and John, as well as some that is unique. Moreover it contains a number elements at odds with the traditional portrayal of Jesus. Most notably Jesus goes out of his way to make it clear that (in contrast to Christian teaching) he is not divine. There is also a chapter (135) with strong echoes of Dante's seven circles of hell, as well as numerous predictions about the future coming of Muhammad scattered throughout the text.

Perhaps most controversially Barnabas expands on the Qu'ran's implication that Jesus was not crucified (surah 4:157). Instead both the text and the film have Jesus taken up to the third heaven. while back on earth Judas is transformed into Isa's likeness and is crucified in his place. At the time of its release Talebzadeh spoke about his intention "to make a bridge between Christianity and Islam, to open the door for dialogue" (Breitbart). It's notable, then, that whilst Talabzadeh does include this passage, he also includes a very abridged version of the Christian account of Jesus' death. Films with multiple endings, such as Wayne's World (1992) and Run Lola, Run (1998), proliferated in the 1990s but this is surely the only religious film to have tried such an approach. Both sequences are introduced with a subtitle, firstly "Continuation of events according to the Christian narrative" and then shortly afterwards "Continuation of events according to Islamic sources and the Gospel of Barnabas".

The ending here, more akin to Freaky Friday (2003) than holy writ, is one that will strike those unacquainted with Barnabas as a little odd. But then the same might also be said by those who are unfamiliar with the ending of the canonical gospels. The idea of God replacing Jesus' body with that of Judas is no more inherently strange than the idea of God replacing Jesus' lifeless body with one that has been transformed and resurrected.

There are numerous other moments in the film which will raise eyebrows with those familiar with the Christian versions of the story, which are also taken straight from the pages of Barnabas. For example, the inclusion of Barnabas the man as one of Jesus' twelve disciples (ch.14); the moment when Caiaphas bows before Jesus to worship him (93); the scene where the Roman Senate pronounces, for Jesus' sake, that he is neither God nor the son of God (98); or, the way that what condemns Jesus in the Sanhedrin is his assertion that the Messiah will be a descendant of Ishmael, not Isaac (208), all of these are to be found in the Gospel of Barnabas. Perhaps most oddly is the scene when Jesus is asked decide if a woman should be stoned for adultery. Instead of just writing in the sand, he creates a mirror in the sand, which one accuser looks into and is driven mad with the horror he sees therein. It's a scene reminiscent of parts of Mel Gibson's The Passion of the Christ, a film which Talebzadeh admires even if he is critical of its theology.

Gibson's film was, of course, heavily criticised for its anti-Semitism and sadly the same criticism could also be levelled at Mesih. Some of this comes from the Gospel of Barnabas itself. It's also possible that some of this might be coloured by the ill feeling between Iran and modern-day Israel. Whichever way, when Pilate falters about passing sentence on Jesus one of the priests shouts out "we take full responsibility for his blood" which if not a direct quote of the Matt 27:25 passage Gibson included, certainly seems like a reasonably accurate paraphrase. Moments later the narrator say that "God set a seal on the cruel hearts of the Children of Israel". Indeed, across the film in general, the Romans, bizarrely, seem to almost support Jesus, whereas the Jewish leaders are seen as the full instigators of his death. Furthermore the moment when a Jewish High Priests kneels, bows before Jesus and hails him as "My God" will, quite understandably, cause offence in some circles.

In a few places the filmmakers add dramatic flourishes of their own which are particularly interesting in this respect. Firstly, Gamaliel the Jewish rabbi known to us from the Talmud and the Mishnah as well as the Bible's book of Acts appears in one of the first scenes featuring the Jewish leaders. In Acts 5 his tolerant laissez-faire policy of leaving the Jesus movement to run it's course seems like almost pro-Christian wisdom, but here, whilst the tolerance element remains, both Judaism and Christianity are held to be in error, and his word come across as more wrong-headed than wise.

Similarly 'brought forward' is St. Paul, or Sha-oul, whose campaign of terror against the followers of Jesus begins with him murdering the newly raised Lazarus. Again, given Saul's role in spreading what Talebzadeh sees as false accounts of Jesus, this seems like an attempt to discredit him, though one that is consistent with his initial appearance in Acts.

Similarly, the filmmakers also give additional validity to the Gospel of Barnabas by not only introducing Barnabas as one of the twelve, but also by showing him at various points in the film, as scribbling down the events as they are happening. Some of the more traditional Bible films have adopted a similar approach, the use of the older and younger Matthew characters in The Visual Bible: Matthew (1993) or Luke's appearance in A.D. (1985) as well as various other scenes where Matthew or John are seen taking their pens with them or noting things down. On the one hand, these touches are light propaganda, not least because they are reasonably unlikely, yet somehow I always find this a nice touch, and here's its no exception.

One particularly interesting element of the film is Jesus' appearance. Isa is played by Ahmad Soleimani-Nia, a veteran of the Iranian army. As this footage was also used as part of an 1000-minute TV series, Soleimani-Nia had to maintain his Christ-like appearance as Jesus for seven years in case they needed to shoot additional scenes (Fleishman).

Soleimani-Nia is strikingly different from any of the film Jesuses that had gone before him. For one thing Isa's long blond curly hair seems far more 'western' than those watching an Islamic take on Jesus might expect. Whilst he would not easily be mistaken for the Jesus of Christian art, there certainly seems to have been some influence; Talebzadeh did, after all, study at New York's Columbia University Film School for several years. Certainly this blond look makes Jesus stand out from the film's other characters who look more typically Iranian than he does. That said Soleimani-Nia's appearance could not be described as western either. Thios makes him a striking figure, but also give him an air of the other-worldly, both at home in this world, but also distinct from it. Whilst none of the canonical gospels, the Qu'ran or the Gospel of Barnabas give a physical description of Jesus, there is some precedent for Isa's appearance from the Hadith. The Hadith of al-Bukhari (vol.4 no.168) describes Jesus as having "curly hair and a reddish complexion" (Tatum 221). This too is different from the film's final portrayal, it may well be a factor in how he is portrayed.

In contrast the rest of the characters feel far more authentic. Just as Soleimani-Nia was a former member of the Iranian military, the rest of the actors seem much more believably like the kind fo people Jesus may rubbed shoulders with. Not only are they more ethnically similar, but there's an ordinariness to them that is absent from the majority of western Jesus films. Similarly, the muted, almost monochrome, costumes feel more authentically like the kind of things peasants of Jesus' time may have worn, as opposed to the bright colours of Hollywood's grandest biblical epics.

Perhaps the most interesting visual aspect of the film, however, is its frequent use of slightly below eye-level camera positions. Filmmakers often drop in the occasional low-level shot to emphasise a certain character's power. Here it is not nearly quite so deferential, but it is used frequently throughout the film. The extent to which it is used suggests that Isa's superiority is not about a certain context or a particular moment, it's something more integral to who he is. The subtlety of the position indicates that whilst Isa is special compared to those around him, he's not that special. He's not a god, just a prophet.

And it's that which seems to be at the heart of this film. Overall it is surprisingly faithful to its source, but that source is clearly the Gospel of Barnabas rather than the canonical gospels. It's this that makes the film so interesting amongst biblical films, even if the extra interpretative step that places between it's viewers and the original events themselves will not be welcome in all quarters.

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- Breitbart (2008) "'Islamic Jesus' hits Iranian movie screens" Jan 13. Retrieved from Web Archive - http://web.archive.org/web/20080115212748/http://www.breitbart.com/article.php?id=080113231632.1q3rt654&show_article=1

- Fleishman, Jeffrey (2008) "An Iranian's vision of Jesus' life stirs debate" in Los Angeles Times April 29. Retrieved from Web Archive - http://web.archive.org/web/20120113224042/http://www.latimes.com/entertainment/news/movies/la-fg-jesus29apr29,1,3806018.story

- Tatum, W. Barnes (2004) Jesus: A Brief History (Blackwell Brief Histor. London: Blackwell

Saint Mary and Jesus the Spirit of God on Google Video

Peter Chattaway's blog has been quiet recently whilst he's been at VIFF, but he has popped up at Arts and Faith with a few interesting bits and pieces. Two items that caught my eye in particular were regarding two 'Islamic' Jesus films coming up on Google Video. I've had a copy of Saint Mary, for a while, but it's nice that there's a subtitled version available to view for free. There's also Mesih/Massiah/Jesus the Spirit of God. I couldn't find the video Peter refers to, but it looks like the whole film is available on YouTube. No subtitles for that one unfortunately. Hopefully I'll get a chance to watch these soon.

LA Times on Jesus Spirit of God

Jeffrey Fleishman of the LA Times has written what I think is the longest article yet on the Iranian Jesus film Jesus Spirit of God (a.k.a. Mesih or The Messiah). There's also and accompanying video file and a brief entry by Fleishman at the LA Times Blog.

There are a few interesting comments on this one. Firstly, it's the first time I recall the actor playing Jesus, Ahmad Soleimani-Nia, being discussed at length. Apparently he's been in character for 7 years as director Nader Talebzadeh "never knows when he might shoot new sequences for the film".

Secondly, Talezadeh seems more evangelistic in this piece than previous articles have suggested. For example, the recent Breitbart article which quoted him as saying he wanted the film to "make a bridge between Christianity and Islam, to open the door for dialogue" and so on. Here, though, he claims to "pray for Christians" and says that "They've been misled. They will realize one day the true story."

Finally the soon to be released TV series of Jesus Spirit of God will apparently run to 1000 hours. That sounds like a long time, but, as Peter Chattaway notes, that's only as long as twenty-two 40-45 minute long episodes, or a series of West Wing if you will.

CNN Video on The Messiah

Yesterday's Biblical Studies Carnival brought my attention to a couple of other bloggers who have been discussing the Iranian Jesus film Mesih (The Messiah). Tony Chartrand-Burke discusses both it and The Aquarian Gospel over at Apocryphicity, and Jim Davila of PaleoJudaica notes a similarity with Life of Brian.

However, the big news is that CNN have a report showing some footage from the film interspersed with some comments from director Nader Talebzadeh. According to that the film will be released over the web shortly. I should warn you, however, that the report contains a major spoiler. I've been trying to get hold of Talebzadeh to get more information, but, as you might imagine, it's not that easy.

ABC on Jesus the Spirit of God

ABC News have interviewed Nader Talebzadeh the director of Mesih the film about Jesus based not only on the canonical gospels, but also The Koran, and, it would seem, the Gospel of Barnabas. The film, which won an award at Rome's Religion Today Film Festival is currently being made into a mini-series, and Talebzadeh was keen to talk about how he thought it could strengthen inter-faith dialogue as well as breakdown misunderstandings between Iran and the US.

Peter Chattaway has also covered this story commenting in partiocular on Talebzadeh's statements about the Gospel of Barnabas.

Another Islamic 'Bible' Film

Firstly a few more bits on Mesih / Jesus, the Spirit of God (the image above [AFP] is of Talebzadeh during filming. It's interesting to note how the two actors pictured are so middle eastern looking, particularly when compared to the film's image of a blond Jesus shown below).

Firstly, the Breitbart article that I discussed a few days ago has disappeared, although it's still available at Islam Online. Secondly, the story has been followed up by an article in Variety which includes the following quotation:

"It is important to show our history before the Islamic revolution," said CMI managing director Mohammed Reza Abbasian. "These episodes of religious history and Iranian history are very popular with Iranian audiences. We want to show the opinions of Islam toward the prophet. This story came from the Koran without any changes. You could call it Jesus through Islam's lens."

But then the article also goes on to discuss the next project by Iran's state broadcaster Islamic Republic of Iran Broadcastingand its production and sales arm Cima Media Intl.

CMI execs have even bigger plans for their follow-up skein, a $20 million version of the life of Joseph and his multi-colored coat, helmed by Farajollah Salahshoor, that is set to be one of Iran's biggest-budget productions ever.

The costly skein could be described as a passion project for its producers, as they will have little chance to ever recoup their money back from foreign sales.

"We have tried to sell it to Arab TV stations, but they say that they cannot show the face of the prophets, and, at the same time, it's not good for European TV," said Abbasian. "The Iranian government is spending its money on the project, but it wasn't supposed to cost this much.

"When you start a project you say it will cost $2 million, but we wanted to film this on 35mm not video so it's become more expensive. We can't stop the project now. We have to spend more money so we can save the money we already spent. Next time, though, we will film with HD or Digi-Beta."

I imagine this will be a more serious take on it than Joseph and the Technicolour Dreamcoat. It'll be interesting to find out how the Joseph story varies in the Koran, and also whether the "coat of many colours" features, given that biblical scholars now consider that particular phrase a mis-translation (it should be coat with long sleeves or something along those lines).

More on Islamic Jesus Film(s)

About a year ago, I made a couple of posts about a possible Muslim-made film about the life of Jesus called The Messiah (official site?). At the time, Peter Chattaway also reported on the story. Now, he's picked it up again linked to an article at Breitbart which discusses what appears to be the same film only with the (new?) title - Jesus, the Spirit of God.

Both Mesih and Jesus, the Spirit of God are by Iranian director Nader Talebzadeh, and were released around some point last year. Indeed Jesus, the Spirit of God won an award in Italy's "Religion Today Film Festival" in 2007. It's also about to be expanded into a 20 part series to run on Iranian national TV.

The same article has been used wholesale in a number of different publications originating with Agence France-Presse, so I'll only reproduce the bit that most caught my eye.

Talebzadeh insists it aims to bridge differences between Christianity and Islam, despite the stark divergence from Christian doctrine about Christ's final hours on earth.

"It is fascinating for Christians to know that Islam gives such devotion to and has so much knowledge about Jesus," Talebzadeh told AFP.

"By making this film I wanted to make a bridge between Christianity and Islam, to open the door for dialogue since there is much common ground between Islam and Christianity," he said.

The director is also keen to emphasise the links between Jesus and one of the most important figures in Shiite Islam, the Imam Mahdi, said to have disappeared 12 centuries ago but whose "return" to earth has been a key tenet of the Ahmadinejad presidency.

[snip]

The bulk of "Jesus, the Spirit of God", which won an award at the 2007 Religion Today Film Festival in Italy, faithfully follows the traditional tale of Jesus as recounted in the New Testament Gospels, a narrative reproduced in the Koran and accepted by Muslims.

But in Talebzadeh's movie, God saves Jesus, depicted as a fair-complexioned man with long hair and a beard, from crucifixion and takes him straight to heaven.

"It is frankly said in the Koran that the person who was crucified was not Jesus" but Judas, one of the 12 Apostles and the one the Bible holds betrayed Jesus to the Romans, he said. In his film, it is Judas who is crucified.

Koranic Jesus Film(s) - The Son of Mary / The Messiah

I've received two pieces of news in the last 24 hours about a film being made about Jesus based on the Qu'ranic accounts of his life. Last month, I discussed Iranian film St. Mary which looks at the story of Jesus's mother from the Koran. I received a comment on that post from Ali who says "Soon to be released is the Farsi movie, The Messiah, a movie about the life of Jesus Christ (according to the Qur'an)". He indicates that it's being distributed by the Jafria Association of North America. From what I can work out the website from this film might be this one.

Then earlier today I got an email from my friend Thomas Langkau who is in the latter stages of getting his book about Jesus Films, "Filmstar Jesus Christus" published (more to follow on that later). He pointed out this website to me which, like his book, is in German. A very rough translation of it is as follows:

Iranian Jesus Film at Catholic Festival

The Iranian director Hamid Jebelli is showing the life Jesus from the view-point of the Koran.

The Iranian film about Jesus Christ is one of the high points of the Mirror-Image-Ritual Film Festivals "Tertio Millennio", which takes place at present in Rome. Director of the Iranian film "The Son of Mary" is Hamid Jebelli, a Muslim. The film represents the Koranic view of the history of Jesus.

"Voices of the spirit" in the film production

The festival is organized by the magazine "Rivista del Cinematografo" together with the Italian catholic play combination. The director/conductor of the festival, Andrea Piersanti stressed, it is a matter of hearing the "voice of the spirit in the film production of the present".

There are a couple things to add to this. Firstly, it's unclear whether these are two different films or not. Certainly it seems quite a coincidence that two films about Jesus based on the Koran have come to the fore at the same time. But then the titles are different, although obviously that often is the case when films are translated into different languages.

Secondly, I wonder how these movies/this movie will film Jesus. As an Islamic prophet I'd imagine he is unlikely to appear on screen, or has this film decided to ignore that? If not will it film the story through his eyes like The Message, or Lance Tracy's The Cross (which it would appear is now available on DVD)?

Finally, FilmChat has linked to shiachat.com where there is some more discussion about the St Mary film, in relation to The Nativity Story