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AND STARRING JESUS AS HIMSELF: CULTURAL CONTEXT AND THE IMAGES OF CHRIST IN NORTH AMERICAN FILM Rebecca Dawson A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2007 Committee: Angela Nelson, Advisor Jeffrey Brown Madeline Duntley ii ABSTRACT Angela Nelson, Advisor Jesus Christ may appear to be an unlikely candidate for movie stardom, yet few other figures have managed to both captivate and outrage its audience. From early appearances in silent epics to modern kung-fu action-comedies, depictions of Christ have done more than show his life and his message. The directors of these films, by using Christ’s image, have added a new interpretative dimension to the social issues and debate at the heart of each era of filmmaking. Post-Vietnam cynicism, feminism, gay rights, and the Christian Right have all found a champion in the character of Jesus. Jesus becomes malleable in a sense, as his image is changed and reconstituted to express the issues and beliefs closest to the filmmaker. This thesis will examine the evolution of the “Jesus film” in North American cinema, focusing on the varying depictions of Christ within four films; Jesus Christ Superstar (1973), The Last Temptation of Christ (1988), Jesus Christ Vampire Hunter (2001), and The Passion of the Christ (2004). These films may vary in their approach and depictions of Christ, ranging from a feminized neo-hippie to a very masculine and practically indestructible savior, yet they all present an evolution in how Jesus is presented and used in popular culture. Studying these films in terms of genre, subculture, and gender is crucial to understanding how the image of Jesus has been affected by our ever-changing culture. Through these various and distinctly different films, I will show how each film’s depiction of Christ has been influenced through its director, its message, and the culture that produced it. Jesus’ physical appearance, his relationships, and the intent of the filmmaker all help form the cinematic Christ. iii ACKNOWLEDGMENTS There are many people who helped me throughout this process. I want to express my gratitude to my committee; Dr. Angela Nelson, Dr. Jeffrey Brown, and Dr. Madeline Duntley. Thank you all so much for your insight, time, and patience. I could not have written this without the love and support from my family. They have endured hundreds of miles of separation, many panicked phone calls, and hearing “What can she do with a Popular Culture degree?” more times than I’d like to admit. Thank you for never doubting me. I just want to make you proud. Thank you to my friends here in the Popular Culture department. We came in as strangers and immediately bonded like a family. If it wasn’t for our theme parties, wallyball, video game nights, and reality show obsessions, I would have gone crazy here. Remember, there is no “I” in Dyamonds. I would also like to thank all the friends I had to leave behind when I moved to Ohio. Your letters of support, phone calls, and customized t-shirts kept me smiling when I felt alone and scared in a place far from home. I miss you all. Finally, I cannot begin to express my gratitude and love for Matt. You kept me sane when I was frantic, kept me cool when I wanted to throw my computer out the window, and you were my strength. All I can give you is my heart in return. iv TABLE OF CONTENTS Page INTRODUCTION………………………………………………………… 1 EARLY JESUS FILMS…………………………………… 9 CHAPTER I: JESUS CHRIST SUPERSTAR…………………………… 23 CHAPTER II: THE LAST TEMPTATION OF CHRIST……………….. 43 CHAPTER III: JESUS CHRIST:VAMPIRE HUNTER…………………. 67 CHAPTER IV: THE PASSION OF THE CHRIST……………………… 85 CONCLUSION…………………………………………………………… 109 WORKS CITED…...….…………………………………………………... 116 1 INTRODUCTION It is a story that could only be told in Hollywood; an independent film is released, one that many thought would be destroyed at the box office. The film’s subject matter and its lack of English dialogue seems guaranteed to isolate many theatergoers. Yet, the movie does have one promising feature, its highly charismatic star. With the power of this star, the film manages to exceed expectations and break records at the box office. People line up to see the film, even buying their tickets in bulk to share with their community. The star’s face is every newspaper, every TV show, and is debated about by critics and pundits. The film has not only managed to break even, but has become one of the top grossing films of all time, all through the country’s fascination with its leading man. For any other film, this outcome would be a fantasy, yet Mel Gibson’s The Passion of the Christ (2004) faced this reality. The film’s gruesome display of Jesus’ death manages to captivate millions of all faiths and beliefs and sparked controversy over the portrayal of Christ and the aspects of his death. However, The Passion of the Christ is just one in a line of films that shows that our fascination with the life, times, and death of Jesus continues to intrigue and challenge us as an audience. Since the first years of mainstream film in North America, Jesus has been a constant presence on the screen. The character of Jesus has been used to enlighten, inspire, critique, and even satirize our culture. Yet, the image of Jesus itself had faced stagnation, with little exploration of what made Jesus such a compelling, yet tragically human figure. While the works and miracles of Christ had gone from black and white film trickery to grand Technicolor, the character itself had remained roughly the same. Jesus was presented as a kind, solemn, and spiritually strong, with little traces of doubt or 2 concern over his fate. While this figure was inspiring, then films often neglected the idea that Jesus was also a human, with humanity often yielding anger, doubt, and sexuality. While these portraits of Jesus were popular among audiences, they did not necessarily reflect the tensions within culture or the personal beliefs of the filmmaker. This would change as Jesus evolved from a stoic figure like Max von Sydow or a Hollywood-handsome man like Jeffrey Hunter. Instead of a one-note savior, we can see Jesus as a questioning Hippie in Jesus Christ Superstar (1973), a man tempted by the promise of a more sedate existence in The Last Temptation of Christ (1988), and even a pro-gay, karate-fighting hero in Jesus Christ Vampire Hunter (2001). These films provide a more personal look at the life of Jesus, as the films study his relationships and how one man can handle the load of bring human and divine in one being. The modern Jesus film also allows the director to use the image of Christ to express his personal beliefs, ranging from post-Vietnam cynicism to conservative Christianity. PURPOSE OF STUDY Through this thesis, I will examine various depictions of Jesus as an adult in North American film, focusing primarily on the cultural and textual content of four films; Norman Jewison’s Jesus Christ Superstar, Martin Scorsese’s The Last Temptation of Christ, Lee Demarbre’s Jesus Christ Vampire Hunter, and Mel Gibson’s The Passion of the Christ. By examining these films, I will show how each film’s message and the culture that produced it have shaped the cinematic character of Christ. Not only has the actual appearance of Christ changed, from the beatific deity in King of Kings (1961) to the gauged ear piercing in Jesus Christ Vampire Hunter, but his personality and his relationships have received a similar transformation. The dynamics of Jesus’ relationship 3 with Mary Magdalene, Judas, and God have changed, ranging from almost traditional father-son dynamic between God and Christ in Jesus Christ Vampire Hunter to Jesus’ imagined sexual and romantic relationship with Mary in The Last Temptation of Christ. The use of Jesus’ imagery not acts as a blank slate, one that the filmmaker can present their own message upon. CHAPTER OVERVIEW The mainstream depiction of Christ reached a turning point in 1973, as Norman Jewison’s Jesus Christ Superstar, the film adaptation of Andrew Lloyd Webber’s musical, debuted to criticism and controversy. Although many focused on the physicality of Ted Neeley’s Jesus as a point of concern, the political, religious, and sexual connotations of Jesus Christ Superstar were both the film’s selling points and targets of debate. In a post-Vietnam America, could a musical with Hippie sensibilities be embraced? How would a film that displays Judas a more compelling character than Christ be received? Despite supposed strides towards tolerance, is anti-Semitism still a part of the story of Christ? Martin Scorsese’s The Last Temptation of Christ (1988) created a greater outpouring of criticisms and outrage. The film, based on the book by Nikos Kazantzakis, depicts Jesus’ humanity in a way not depicted before. Instead of a peaceful lamb led to the slaughter, Willem Defoe’s Jesus is troubled and even reluctant to take on what he knows will lead to his death. As he suffers on the cross, he is given one last temptation, the vision of a domestic, long life not as a messiah, but as a man. The vision, depicting a married existence with Mary Magdalene, raised eyebrows with its depiction of married sex life between Jesus and Mary and drew scorn for its portrayal of a doubting Christ. 4 The film does not focus on Jesus as a savior, but as an introspective human being.

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