Miner - The Filmlical Jesus A Criti

144 Pages·1995·5.1 MB·English

by  Miner, Curtis Edward

THE "FILMLICAL" JESUS:
A CRITICALLY EVALUATIVE REVIEW
OF THE JESUS FILM GENRE
A Professional Project
Presented to
the Faculty of the
School of Theology at Claremont
In Partial Fulfillment
of the Requirements for the Degree
Doctor of Ministry
by
Curtis Edward Miner
May 1995
© 1995
Curtis Edward Miner
ALL RIGHTS RESERVED
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ABSTRACT
The "Filmlical" Jesus: A Critically Evaluative
Review of the Jesus Film Genre
by
Curtis Edward Miner
Depending upon the specific time in history, people have looked to particular
images of Jesus. One image has been the Biblical Jesus—the "true" Jesus found in the
New Testament Canonical Scriptures. Another has been the Historical Jesus-the Jesus
seen through the socio-political realities of his day and time. Then there has been the
Suffering Jesus, the Jesus of Liberation, Gentle Jesus, meek and mild, and the list goes
on. With the advent of film technology, still another Jesus is introduced-what might be
called the "Filmlical" Jesus.
For centuries, faith traditions have been passed from generation to generation
through stories. Film can be utilized as a technologically advanced story telling medium.
Therefore, the films about Jesus are telling a story that reaches far beyond the walls of
any church sanctuary or Sunday School classroom. For that reason, it is important for
people, both within and outside of the Church, to view these films critically, so that they
are not misinformed or confused by distorted accounts—assuming them to be the Gospel.
Following an introduction, the evolution of the Jesus film genre is explored in
Chapters 2-6: The "Silent" Jesus (silent films); The "Faceless" Jesus (1950s-60s epics);
The "Real" Jesus (1960s-70s attempts at historical authenticity); Jesus—The Song and
Dance Man (musicals); and The "Human" Jesus (Jesus' humanity explored).
Chapter 7 provides suggestions of how the Jesus films can be used in the
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program/educational life of the local church; Chapter 8 offers some final thoughts. The
appendices include an annotated list of Jesus films and a list of film/video distributors
and resources for finding Jesus films to view and study.
This project is, for the most part, limited to evaluating and offering comments on
those theatrical release films that actually portray Jesus in some rendering of the Jesus
story as presented in the Biblical Gospel narrative. This project does not comment upon
the animated film portrayals of the Jesus story, such as those produced by Hanna Barbera,
and others.
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TABLE OF CONTENTS
Chapter Page
1. Introduction.....................................................................................................................................1
Problem Addressed by the Project.........................................................................................1
Importance of the Problem.......................................................................................................2
Thesis.............................................................................................................................................3
Definitions of Major Terms.....................................................................................................3
Work Previously Done in the Field........................................................................................5
Scope and Limitation of Project.............................................................................................8
Project Method............................................................................................................................9
Film Viewing Method...............................................................................................................9
Discovering Intent and Purpose...........................................................................................10
Film as Art................................................................................................................................11
Technical and Performace Elements...................................................................................12
Screenplay vs. the "Original"................................................................................................13
When the Bible is the "Original"..........................................................................................13
Organization of the Project.................................................................................................16
2. The "Silent" Jesus........................................................................................................................18
From the Manager to the Cross.............................................................................................19
Intolerance................................................................................... 21
Jesus of Nazareth: Story of the Saviour's Life................................................................23
King of Kings 09273.............................................................................................................24
The King of Kings (19271-Reflections.............................................................................34
3. The "Faceless" Jesus.................................................................................................................37
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Golgotha.....................................................................................................................................37
Last Days of Pompeii ............................................................................................................40
1940s, 1950s and Early 1960s..............................................................................................41
Day of Triumph........................................................................................................................41
The Biblical Epics...................................................................................................................43
Quo Vadis.................................................................................................................................43
Salome ......................................................................................................................................43
The Big Fisherman .................................................................................................................45
Barabbas.....................................................................................................................................46
The Robe and Ben Hur...........................................................................................................47
The Robe...................................................................................................................................47
Ben Hur......................................................................................................................................51
BemHur (1959)—Reflections................................................................................................54
4. The "Real" Jesus.........................................................................................................................57
King of Kings (19613.............................................................................................................57
The Greatest Storv Ever Told...............................................................................................59
The Gospel According to St. Matthew...............................................................................61
Jesus of Nazareth.....................................................................................................................64
Jesus of Nazareth—Reflections.............................................................................................68
"Jesus"-The Man You Thought You Knew.....................................................................71
5. Jesus—The Song and Dance Man........................................................................................73
The Parable................................................................................................................................73
Jesus Christ Superstar.............................................................................................................75
Godspell......................................................................................................................................81
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Godsoell—Reflections.............................................................................................................85
6. The "Human" Jesus.................................................................................................................88
Jesus' Humanity........................................................................................................................89
Passover Plot............................................................................................................................89
The Last Temptation of Christ.............................................................................................91
The Last Temptation of Christ-Reflections....................................................................97
Jesus of Montreal.....................................................................................................................99
7. Putting the Films to Use........................................................................................................101
A Film Series Event..............................................................................................................101
Advance Planning of Event(s)............................................................................................102
Introduction/Background Paper.........................................................................................102
Suggestions of Films..........................................................................................................103
Logistics...................................................................................................................................103
Conclusion...............................................................................................................................106
8. Conclusion................................................................................................................................108
Some Parting Thoughts.....................................................................................................108
Appendices..........................................................................................................................................110
A. Alphabetical Listing of Jesus Films.............................................................................110
B. Film/Video Distributors and Resources....................................................................119
C. Jesus Christ Superstar......................................................................................................122
Bibliography.......................................................................................................................................125
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ACKNOWLEDGMENTS
Although the "theatre bug" bit me during my high school years, it wasn't until my
time in seminary at Pacific School of Religion in Berkeley (when I took a class entitled
"Theology and Cinema" from Dr. Durwood Foster) that I really began to think about the
film medium as a powerful teaching tool. So when I completed seminary, I began using
films in my church work, both with the youth and with adults. I was especially intrigued
by the various Jesus films.
My interest was kindled even further upon taking Dr. Jack Coogan's "Religion
and Film: Story on Film" course at the School of Theology at Claremont at the start of
my D.Min. course of study.
Many thanks to the Church of the Foothills, UCC, in Ventura, Calif., for allowing
me one day a week to commute to STC and work on my D.Min. Thanks also to the UCC
churches of Bloomington and Rialto for their support of this venture, including the
granting of some sabbatical leave time to write this project. Thanks as well need to go to
family and friends who read early drafts and offered their comments-especially my
Mother, Edna Miner, Father, Charles Miner, and good friend, Michael Swander. A big
vote of thanks goes to Anne Briggs for her careful proofing for grammar and structure of
the first draft. And thanks to Stan and Louise Conover for allowing me to stay in their
home during the researching and writing of this project. Thanks also to my D.Min.
committee, Drs. Jack Coogan and Mary Elizabeth Moore, for all their help and support of
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this endeavor over the past six years. Thank you Elaine Walker for the helpful nudges
along the way and to Kathy Deskin for typing and editing the final manuscript. And
finally, a heartfelt thanks to my wife, Linda, and our children, Charlie and Jennifer, who
have supported me 100 percent in the pursuit of this goal. I couldn't have done it without
them.
Warmly,
Curt Miner
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1
CHAPTER 1
Introduction
Depending upon the particular time in history, people have looked to a particular
image of Jesus. One image has been the Biblical Jesus—the literal Jesus as presented in
the New Testament Canonical Scriptures. Another has been the Historical Jesus—the
Jesus as seen through the socio-political realities of his day and time. Then there has
been the Suffering Jesus, the Jesus of Liberation, Gentle Jesus, meek and mild, and the
list goes on.
With the advent of film technology, still another Jesus is introduced—what might
be called the "Filmlical" Jesus. This Jesus may possess some of the same qualities and
characteristics as the other Jesus types mentioned above. Yet when employing the
medium of film Jesus can seemingly become much more real and accessible to a much
broader audience.1
Problem Addressed by the Project
For untold centuries, beliefs and faith traditions have been passed from generation
to generation through the use of stories. Film can be utilized as a technologically
advanced story telling medium. Therefore, the films made about Jesus are telling a story
that reaches far beyond the walls of any church sanctuary or Sunday School classroom.
And for that reason, it is important for people, both within and outside of the Church, to
1 The notions that gave birth to this project come from two courses taken during the writer's seminary
studies—"Theology and Cinema," taught by Durwood Doster at Pacific School of Religion, and "Religion
and Film: Story on Film," taught by Jack Coogan at the School of Theology at Claremont.
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view these films critically, so that a warped or distorted point of view is not understood to
be the Gospel truth, either literally or figuratively.
Importance of the Problem
For many different reasons, and with varying degrees of success, both artistic and
financial, many films have been made about the life and ministry of Jesus, and the impact
of that life and ministry upon the course of human history(ies). Society is only beginning
to understand what potential power and influence the film medium holds. And the fact
that some Jesus films have been produced that present a distorted portrayal of Jesus' life
and ministry presents the Christian faith community with a real challenge. The images of
Jesus portrayed in film can be misleading and/or confusing if viewed uncritically, or with
limited knowledge of the Biblical accounts and traditions surrounding the Jesus story.
Therefore, viewing Jesus films in a non-critical manner, or with limited background
knowledge of the "actual" Biblical accounts, could produce (has produced?) confused
understandings of the "Gospel message," as defined below.
As the potential power and influence of film is realized more and more, the
importance of this dilemma is intensified, especially when one considers the hours spent
viewing film by typical American students by the time they complete high school. As
early as 1967, it was estimated that the typical American high school grad would have
seen more than 500 films.2 With the current proliferation of film production for both
theatrical release and television, and the advent of the home video market, imagine what
3 See Jones, Sunday Night at the Movies (Richmond: John Knox Press, 1967), 7.
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