Once the credits appeared, running backwards, and that unutterably nasty score set in, with the droning sirens and the bass rumble utilised by Riot Police, The Duke knew nothing good could come from this all.
Sure enough, 27 or so minutes in, just after the infamous Fire-Extinguisher showdown, The Duke was breathless, nigh-on crazed with the brutality of it all. I calmed down, of course, and watched it again later.
So these were the two sensations The Duke was host to when preparing to view Mad Max Beyond Gethsemane. A - That those Titian oils had finally found a home onscreen, and B - That this was probably going to be fairly unpleasant.
When it was announced that Mel Gibson was going to follow up his Killing The English film with a Killing The Messiah film, I was more than supportive. It seemed like it was time for another, it having been over a decade since Scorsese got scored off The Pope's Christmas Card list with Last Temptation Of Christ.
The stills arrived, then the trailer, and all was going well. This looked remarkable. And then some folks started saying, "Hang on now just a damn cotton-pickin' minute. I don't like this one little bit."
And Lo, the multitudes did gather to attack Braveheart's film.
So how in the flaming CGI pits of Hell does one approach this objectively? It seems an impossible task. For one thing, those entering the theatre with a Christian sensibility operating behind the peepers will no doubt see something different from those from a secular perspective. Similarly, folks who never heard any of the cries of Anti-Semitic intentions in the celluloid won't be on the look-out for anything in the slightest that points to some detestable agenda at work.
Hey, Aaron, we know this! Quit yakin' on about other folks and tell us what you thought!
O.k then.
The film opens in Gethsemane, with Jesus about to be captured by the authorities for his rabble-rousing antics. The scene is achingly beautiful. Awash with blue, the whole affair plays out just as The Duke had hoped, just like one of those Renaissance scribblings come to life. And, of course, major themes are established here. Like heavy breathing. Lots of heavy breathing.
After sitting through these two hours and a bit, it is quite possible that one will be more aware of the mechanics of their respiratory system than ever before. Every second of spare audio is handed over to breathing. Sometimes deep, and throaty, on account of there being evil afoot, and sometimes unlistenably anguished, clawing for release.
Article comments
1 - rob
I agree with everything you wrote.
Especially the ending.
What's with Satan wearing the black wig? Screaming like a lunatic. Give me a break. I guess it was for the Christians to show them that Satan was defeated. As for me, an agnostic bordering on atheist, it jarred me back to reality and the silliness of my life.
I do wish they would have ended it with the Pieta image. That was awesome.
I've been reading reviews and yours was one of the better and articulate ones so I thought I should comment. Thanks!
2 - Aaron, Duke De Mondo
Why thank you!
And Lo, The Duke Did Blush.
Yes, i felt those final moments of computer-generated nonsense took me completely out of the film. What in hell's CGI wig-wearing name was he thinking? As if the real stuff wasn't achingly beautiful enough! "Hey, i know, let's have some CGI rain drops. Wouldn't that be the coolest?"
"Uh, sure Mel, just don't be gettin' all Mad Max on us, ok big guy? Do whatever you want, man."
I bought the soundtrack album yesterday, which is fantastic also. I note they didn't feel the need to round it off with a techno-remix. Pity Braveheart hadn't took the same route.
But still, the film was perfect in every other damn respect.
Thanks again Rob. Means a lot.
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