Son of God: Their Empire, His Kingdom, reviewed by Daniel Snape
Son of God: Their Empire, His Kingdom (20th Century Fox). Actors: Darwin Shaw, Sebastian Knapp, Paul Knops, and Darcie Lincoln. Directors: Christopher Spencer. Music by Hans Zimmer.
From producers, Roma Downy and Mark Burnett comes the movie Son of God. Directed by Christopher Spencer (with additional scenes directed by Tony Mitchell and Crispin Reece), Son of God depicts the life of Jesus based on the Gospel of John. This is made apparent to the watcher as John as an old man narrates the beginning and end of the movie. If you are familiar with the mini-‐series The Bible by the same producers, then one will realize that there is not much new material in Son of God. It is clear and encouraging, however, that the release and editing of this film was a strategic move to gain national and international cinema exposure to the Gospel story.
The film does well in covering the essential and compelling aspects of the Gospel narratives. Beginning with Jesus’ birth and visitation by the magi, our first image of Jesus the man, is as a solitary figure walking the mountaintops of Judea as he gazes down on the Sea of Galilee. This leads to Jesus’ encounter with Peter as Peter laments the lack of fish he able to catch. Peter’s initial skepticism towards Jesus is placated by Jesus asking, “Just give me an hour and I will give you a whole new life.” Peter’s response is, “Who says I want one?” While this exchange is not found in any of the Gospel narratives it unquestionably addresses a modern day dilemma many of us face. After Peter pulls in a miraculous catch of fish, he becomes aware that there is something different about Jesus, something worth following.
Familiar scenes to many such as Jesus preaching to the crowds, the healing of the paralytic who comes through the roof, the feeding of the five thousand and the resurrection of Lazarus, are skillfully and artistically conveyed. Two scenes in particular though, stand out as especially powerful and moving. These are the calling of Matthew the tax collector as he realizes his sinful nature and sees the hope that following Jesus offers, and Peter walking out on the water to meet Jesus. Both scenes help to depict the power of humility in acknowledging our sinfulness but also our faith in reaching out and walking towards Jesus.
Also well conveyed and communicated is the tension between Roman rule and the Jewish population. Roman brutality is displayed in several scenes and the scheming and politics that was so rife between the Romans and the Sanhedrin in a bid to retain power, underlies much of the film. This is an important subtly that is not to be underestimated throughout the film. While the resurrection of Lazarus, the cleansing of the Temple and Jesus’ reading of Isaiah 61 are portrayed as the acts that seal Jesus’ execution, ultimately it is both Pilate and Caiaphas’ paranoia of losing power, that leads to Jesus’ death.
The second half of the film focuses on Jesus’ triumphant entry into Jerusalem, the Last Supper and his trial and crucifixion. The solemnity and emotions evoked in the Last Supper scenes are powerful and effective at drawing the viewer into the feelings that the disciples must have been experiencing when learning that their master was to be led to his death. Skillfully juxtaposed are Judas’ descent into betrayal and distrust and Nicodemus’ ascent from suspicion to ultimately awe and belief in who Jesus claimed to be.
The torture and crucifixion scenes are largely what must have lead to the PG‐13 rating and while they amply convey the brutality and cruelty of what Jesus must have gone through, they are not so graphic as to be inappropriate for older children. In many respects, this is intended to be a family movie but it is impossible to ignore the reality and the horror of the cross. Heart wrenching scenes of Jesus collapsing under the weight of the wooden beams he must carry and then of him ultimately crawling towards the cross he must be nailed to, suggest that Jesus knew what he must do and that he had no intention of avoiding his destiny.
Casting such a film is always difficult as many of these biblical characters are easily typecast. To a certain degree, this seems to have been the case with the choice of Portuguese actor Diogo Morgado as Jesus. Morgado captures very well the compassionate, mild and meek side of Jesus but his interpretation never goes far beyond these traits and so produces a rather two dimensional portrait of Jesus. Even as he is cleansing the temple there is barely a flash of anger or righteous indignation as the Gospel accounts lead us to understand and when Lazarus is brought back to life Jesus almost looks surprised at what has transpired! The often blunt encounters with the Pharisees are never portrayed as such and so in a sense, some of Jesus’ fire and passion are lost to the audience.
Far better cast are the disciple Peter, played by Darwin Shaw and Greg Hicks as Pontius Pilate. Shaw does a fine job showing Peter’s humanity and frailty while also conveying his bravado and courage. Greg Hicks gives Pilate a gritty and self–‐serving edge that manages to show the complexity of his character. Often it is tempting to view Pilate in a sympathetic light as one who ultimately tried to defend and free Jesus. The reality was likely far different as the film successfully conveys. This Pilate is brutal, selfish and ultimately only concerned with retaining power and avoiding Caesar’s wrath.
The film is well shot and thoughtfully directed in a way that allows the motion picture to hold its own by Hollywood standards. First century Palestine and the culture of the times are captured well although no doubt historians will find points to grumble on. Perhaps a little more time could have been spent on making the Temple look more real as it is clearly CGI. The sound track helps give the film a grand, epic feel and it is in safe hands with master film composer Hans Zimmer at the helm.
Overall, Son of God is a professionally constructed and artistically crafted film that accurately portrays the life of Jesus in a way that is faithful to the Gospel accounts. Is there some artistic license? Of course, but nothing that should cause concern to those who hold to the authority of the Bible. The ultimate value of this film is the audience it has reached and will continue to reach through Blu‐Ray/DVD release. The more ways the life of Jesus and the message he brought can be shared, the better.
Reviewed by Daniel P. Snape
