2,5 Oh, come on, this can't be the best Jesus film ever! While I don't mind the realistic portrayal of Jesus and the Marxist overtones, I find the formal aspects somewhat debatable - the whole thing felt like a really long, poorly edited sermon backed by a pretty cool soundtrack (Odetta, Blind Willie Johnson, Bach), which was sadly excessively (ab)used.
57/100 (Bağımsızca söyleyebilirim ki Pasolini'nin en çekilmez filmi. Filmin klasik incilden tek farkı 2-3 sahnede karşımıza çıkan Devrimci İsa figürü. Geri kalan her şey yüzyılların tekrarı. Evet inanmayan biri olsam da İsa'nın ideal insan tiplemesini ve isyancı rolünü kabul ediyor ve bu yönünü seviyorum. Ama filmi sevmek için gerçekten bunlar yetersiz. Hele ki mucize sahneleri Pasolini'ye yakışmıyor...)
Faces make this movie: the imposing frontal shot of a leper pre-healing; the looks of unknown bit players and extras, not awestruck but real; and finally Izaroqui's firm, determined Christ. Pasolini's rough and ready visual style adds many moments of surrealism even as it apes the neo - realist structure, resulting in a masterpiece as modern and intimate as it is ancient and remote
sebagai penggemar kisah2 di perjanjian lama, nonton film ini kudu sembari googling2 sebentar krn tidak akrab dgn cerita2 di perjanjian baru. tapi jelas ada kekaguman yang jujur dari seorang atheis marxis mentok dalam diri pasolini terhadap sosok jesus versi matthew
The Biblical Jesus Christ was punk rock. And nothing is more punk rock than one of humanity's most spiritual entities stripped raw of artifice and embellishment, two millennia of dogma, shouting with authenticity. Wholesale sequences consist of letting the Red Letters do the talking. Pasolini's punk aim was to use film form to find the (divine) Son of God through the (revolutionary) Son of Man, a radical take.
And also The Gospel According to Karl Marx. Pasolini, a leftist and atheist, dips into mankind's most sacred writings with a highly suspicious selectivity, and extracts an image of Jesus Christ as a revolutionary, repainting the source material as "acquired" post-modern (f)art — Empty, no wonder it's one of the most acclaimed films of all time.
Pasolini’s most perfect film, following St. Matthews retelling of Jesus Christ and his unibrow. From his birth to walking on water up until the crucifixion and resurrection. Despite it being a film about Jesus Christ, more than anything it is Pasolini’s symbolic Marxist retelling (besides let’s not forget that he was a gay atheist). The soundtrack is a bewitching spell that literally haunted my dreams for days.