The Last Temptation of Christ (1988)

It is important to note, however, that with The Last Temptation of Christ Scorsese never meant to challenge the Scripture or change perceptions about Jesus and his followers. The film simply offers a different interpretation of certain events from his life without taking into account popular beliefs and treating them as undisputed facts.

I saw The Last Temptation of Christ long after I had read Nikos Kazantzakis' novel (incidentally, at the same time I had also become familiar with Mikhail Bulgakov's similarly bold and controversial The Master and Margarita). Unlike most viewers in the West, I was not surprised by the premise of the film and the hysteria that followed its premiere. What surprised me is how well Scorsese had managed to visualize Kazantzakis' thoughts and observations. The film gave them a spirit and simplicity that made it exceptionally easy to understand what Kazantzakis sought to accomplish with his novel.

The film's most controversial sequence appears towards the end, where Jesus (Willem Dafoe, The English Patient, Antichrist) is confronted by Satan - a moment of strength becomes a moment of weakness and transforms Jesus into an ordinary man. Led by his guardian angel, He returns home and marries Mary Magdelene (Barbara Hershey, The Entity), has children, and grows old. At one point, He also questions his followers and confronts God because He gains a new appreciation of life, which makes him as weak and vulnerable as ordinary men. Then, on his dying bed He is visited by the Apostles whose angry words inspire him to regain his consciousness.

As a Christian myself, I have never been offended by the portrayal of Jesus in this sequence. Admittedly, however, this has a lot to do with my firm belief that Jesus was not a blind idealist who despised ordinary men; He understood and loved them because He knew well their weaknesses and sins. Naturally, for me the sequence addresses the origin of his knowledge and depth of his strength, which is why I do not regard it as a sacrilegious attack on his divinity.

Ultimately, what makes The Last Temptation of Christ such a fascinating film to behold is not the fact that it sees and describes Jesus differently, but its ability to effectively force one to reevaluate one's beliefs and knowledge about his message. This is a respectful not arrogant and certainly not subversive film which encourages one to think, not accept blindly the authoritarian interpretations of religious extremists with dangerous agendas.

The cast is outstanding. Willem Dafoe's performance is bold and demanding respect. Especially during the final third of the film, where Jesus is led to Golgotha, he looks incredible. Harvey Keitel also delivers a memorable performance as Judas. Barbara Hershey is terrific as the poor Mary Magdalene.

The film was lensed by the great German cinematographer Michael Ballhaus (The Bitter Tears of Petra von Kant, World on a Wire, GoodFellas). The film also boasts a stunningly atmospheric soundtrack courtesy of Peter Gabriel (Rabbit-Proof Fence).

Note: In 1988, The Last Temptation of Christ won Filmcritica Bastone Bianco Award at the Venice Film Festival.