“I have told the truth. Whether you believe it is your choice, not mine.”

I kinda knew this would not only be good but also visually impressive with Catherine Hardwicke at the helm. I didn’t expect it, however, to completely cement her as one of my favourite directors. This is really quite a perfect movie, so perfect it really left me speechless. Of course, if you’re not a Christian, or haven’t been brought up with the Nativity story, the experience will be a different thing, though I’m sure the visuals are still sufficient for most and the religious aspects of the story aren’t dealt with entirely preachily. I can only speak as someone who was brought up with this, and though I’m not a church-going, god-fearing Christian or anything – I don’t identify with any specific religions, though I certainly love this one’s stories more with every year I live – this moved me exactly the way I wanted it to. To be that first shepherd, to witness something that absolutely brings you to your knees with its sheer purity and beauty, its complete lack of modern cynicism and skepticism, to just realise, we are nothing compared to This … that’s what this movie needed to be to impress me, it’s a big demand, and I can say picking my jaw off the floor, it succeeded.

The Nativity story has always for me either been rushed through school play style, shown in fragments as in carols or advent calendars, or shown as part of the grander story of Jesus’ life. Singled out, it allows for what I found to be the most powerful aspect of this production, and it’s the way we get to feel Mary’s loneliness at the start, we get glimpses of her thoughts, her fears, how frightening to be given this secret and feel unable to tell anyone. When Joseph finally believes, we get the same thing – there’s a wonderful moment when they walk past a man on the streets foretelling the birth of the Messiah and they share a look that’s just amazing. Having loved her in Whale Rider, I knew Keisha Castle-Hughes would be fine as Mary, but relative unknown Oscar Isaac is perfect as Joseph too.

The other thing this production does well at is not shying away from the bitter side of the story. As they say, God is in the details, and though it’s all mostly offscreen, we’re still “shown” things like Herod’s slaughtering of the children, the circumcision of John, a ceremonial slaughtering of a cow, even a small thing like Joseph’s manual gutting of a fish for a meal. Even the significance of the gift of myrrh is not overlooked at the end.

All I can say is, if you celebrate Christmas, you can do much worse than watching this to remember why you do it. I’m guilty as anyone for “forgetting” and I’ve had plenty of recent Christmases where out of guilt I almost consider not celebrating such are my religious views. But I love Christmas … and I love this story … and you really can’t ask for a better version of it than this. If anything it honestly made me want to believe more.

“The Devil goes after the young. Those who cannot fend for themselves.”

You said it, Miss Fischer …

You kind of get the gist of where this documentary is going early on, when evangelist leader Becky Fischer asks a crowd of parents and children, “who believes God can do anything?” and we see one mother forcing the hands of her two kids – who don’t look old enough to even raise their own hands on command let alone have such an opinion – in the air.

It’s hard to write a lot on this documentary, or any like it, without spilling over into a mess of a babble on the contentious issues and one’s own opinion on it rather than focusing on the basic film-making quality, such are the touchy topics it covers.

In a nutshell, this movie shows a pretty intense “camp” – a training ground for young evangelists where I guess the highlight is Fischer talking about Harry Potter, referring to him as a warlock, and therefore he makes the baby Jesus cry.

But apparently Fischer isn’t as upset about the movie as you’d expect from the picture it paints – I read on Wikipedia, “To Fischer, the real message of Jesus Camp is to show how passionate children can be when given the right opportunities.” Right. And there are moments here where the pendulum does swing her way, you do see good things coming out of it; one girl, for example, has unbelievable strength against the obvious taunts she gets at school for her beliefs etc. But, y’know, as to the passion thing? You could get that by giving them large quantities of junk food too. It doesn’t make it good. Like a radio DJ – the only real voice in the movie that calls a spade a spade and tells her how crazy she is, since you really don’t need any voice but her own to tell you that – tells her over the phone, you can get kids to do anything, you can turn them into soldiers, anything. Now I guess the argument for Fischer in answer to that is – well, at least she’s not doing that. The worst most of these kids are ever gonna really do is annoy people. It could be worse. But it’s still incredibly sad to see kids – at times, incredibly smart kids – basically having their lives snatched away from them in the name of God.

I don’t have problems with other people’s beliefs, and I’m sure for some of these kids whatever the camp leaves them with might be much better than any other alternatives. But anything that teaches, nay forces, children so young to be so certain about something which, by its very nature, is forever uncertain – that’s what bugs me the most.

As to the film itself, it is certainly well-made, arresting, and at only 90 minutes, refreshingly short for a documentary. Like I said, really only the DJ flat-out “makes a case” either way for or against Fischer, she pretty much damns herself. There’s no narration and only a few snippets of text impart basic pieces of information about locations and names etc. There’s really not a lot of gimmickery involved. It’s what I’d call “a proper documentary”, and it’s pretty scary.

Kind of like Meet the Robinsons, there was actually a long stretch here that I look back on now bewildered, where I was just absolutely gobsmacked about how stupid a turn the movie had taken. If you’ve seen the movie you’ll know where – if you haven’t, you’ll know when you see it … I’m not gonna spoil it. Just to say, you’ll either go with it or not. I’m glad to say I went.

Like last year’s The Prestige and moreso The Fountain this just sits leagues above anything else I’ve seen this year so far, and I won’t be able to explain exactly why until I’ve seen it at least a few more times – though, maybe that’s why … because it’s not a movie whose beauty can be put into words (... that’s why it’s a movie …) I said reviewing Millions how Danny Boyle is about the most consistently brilliant director working today, and the guy doesn’t make it easy on himself changing genre with every production. I think what I said there is still an understatement. People have compared this movie (favourably and otherwise) to Kubrick’s 2001. Kubrick also changed genre with every movie. Honestly – if anyone out there is wondering who’s filling Stanley’s boots these days … allow me to nominate this guy.

Well I didn’t think it’d take me 2 years to update this with notes on “The Version You’ve Never Seen”, lol. I’m sure it can’t be that long since I last watched it.

And it’s always the way – my Halloween schedule always gets changed … apparently even when I start a week early, lol. This was meant to be watched a week from now, but I actually wanted to watch it yesterday – and today Sarah made my mind up for me.

Anyway … volume up and lights down ...

“I think the point is to make us despair …
... to see ourselves as … animal and ugly …
... to reject the possibility that God could love us …”

I begin with that line because it’s the point this umpteenth time around where I remembered in a burst of emotion out of nowhere why I continue to call this one of my favourite movies. I just totally lost it on that line.

I don’t think I need to say, “it’s still a great movie”. It’s one of the few movies I know for a fact will always be great movies. They’re beyond the context you view them in – they always work. It’s about what William Friedkin has said time and again – “What you take from The Exorcist is what you bring to it.” I’ve brought lots of things to this movie and I can say that he is 100% right. It works every time because it works on whatever is plaguing you, or even perhaps what’s pleasing you. I’ve come out of this movie both suicidal (when the incredible phrase, ”... negative – in other words, normal,” probably leapt out at me the most) and practically a Christian. It’s amazing the spectrum it covers.

“The Version You’ve Never Seen” is, as I’ve said before, my preferred version, and the version I watched tonight. What’s added is without exception, as far as I’m concerned, essential. The hospital scene – “I don’t feel anything,” and the weird humming dance thing … sure, you don’t miss them in the shorter version? But they add an unbelievable other dimension to the creeping fear, the gradual transformation of Regan. The conversation between Chris and the doctor: their expressions following the c-word line priceless. The subliminals added before Burke’s death is announced seem like a cheap shot, but I have to say, I even like those – then of course is the spider-walk, which is scary in itself but also worth it for the reaction shot of Ellen Burstyn, just truly a portrait of terror.

But it’s in the second half where the VYNS additions really start to be something else entirely. The tape of Regan’s voice, it’s just heartbreakingly necessary; the extra stuff with Merrin … the beautiful line about drink, “the doctors say I shouldn’t, but thank God my will is weak,” his response to Chris telling him Regan’s middle name, and her reaction to his line, plus the extended break mid-exorcism ... it’s all so much more than restored deletions, and it makes a great film astonishingly better. To cap it all is the ending I’d forgotten about entirely – “How’s the girl?” “Fine.” “That’s important.” Detective Kinderman is probably my favourite male character of all time – in film and literature. He’s just beautiful. It’s covered in just one brief exchange before the movie’s infamous highlight – “You’re a nice lady,” he says, “thank you,” to which Chris replies, “You’re a nice man.” So simple, so warm.

Most of all the additions keep longtime fans – who might occasionally find themselves numbed by the whole thing – on their toes.

It’s just a true masterpiece, it can’t be said enough, and I feel odd whenever I say it because so many people have said it better. I recommend to anyone who will listen that they immerse themselves in the whole Exorcist thing. Mark Kermode of course wrote the Bible, the BFI Classics book which is now in its 3rd or 4th edition? Just the best long study of any film I’ve ever read. He also made “The Fear of God” documentary available on one of the DVDs of this movie – though every version I’ve seen in the past 5 years has had his parts cut out which is a little annoying. He “hosted” a commentary on the Ninth Configuration DVD, and also wrote notes in the margins of that movie’s screenplay – a movie, which, incidentally, I recommend you regard as the true sequel to this one. Not to say you shouldn’t watch Exorcist II: The Heretic – I happen to like that movie, at the least it looks great and you can’t get enough of Linda Blair as Regan – but The Ninth is so much more in line with the themes set-up here. Then there’s William Peter Blatty’s many other works in literature.

I mean, that’s what this movie really means to me more than anything. The fact it’s a great film almost comes second to the things it opened doors to for me. It’s ten years this year since I first saw it, and I think of all the things that could’ve made me a totally different person now if you just deleted it from my history Sliding Doors style? I don’t even wanna imagine.

Anyway, I also promised there would be ancient “extras” eventually added to this review – well, luckily, I found them in an HTML format from my old site so I present them here unaltered as found without having even read them yet. These go back almost 10 years, so don’t attribute any stupidity therein to the me of now

College essay (more specific, circa 2000?)
School essay (more about the book – though you wouldn’t know, lol – and also about Frankenstein and Dracula … I wanted to do Carrie instead of one of those two but teacher was apprehensive enough about me having one modern text let alone a Stephen King book lol, circa 1998)

November 1st, 2005:

Hmm, I thought I was updating an old page containing a review of “The Version You’ve Never Seen” here but I clicked through and found a blank space so I’ll add some comments about that version another time.

What struck me watching the original theatrical cut today was how good this movie is even minus the extra scenes I love so much in the newer cut. It’s incredible how the pressure mounts, exhausting to be bounced from possible solution to possible solution with Chris McNeil. Regan’s transformation from button-nosed little girl to terrifying monster is practically seamless. And the movie doesn’t lack a little warmth – first in the relationship between mother and daughter and later between Detective Kinderman and just about anyone he shares a scene with.

I don’t know quite what else to say about the movie right now, it all feels like it’s been said before. I plan to watch the other version again soon too, plus I probably have other things written elsewhere that I can add to this page. It really is the best horror movie.

Not gonna write anywhere near as much as I felt I might write about this one, as with my last review it’s a case of right now or write never This TV movie reminded me of a lot of other movies – from Whistle Down the Wind to Heavenly Creatures (Geraldine McEwan’s Mother very like the mother in that movie at times), An Angel at my Table (probably just the ginger hair I’m thinking of) and Breaking the Waves, but more ultimately of My Summer of Love, which to me it resembles beyond the mere lesbian factor. In the end, like “My Summer …”, the movie kind of fizzles out when it feels like it ought to explode. An IMDb reviewer noted the movie’s “plainness”, and when I first read that, following the first part, though I agreed with them, I thought the plainness worked in the movie’s favour … and it does, but to a point.

Most of all I was glad the movie doesn’t suffer from “Jane Eyre” syndrome – the entire first third of the movie is dedicated to a pre-teen Jess, and the actress is so perfect and compelling, I dreaded the inevitable growing up – but Charlotte Coleman fills the girl’s shoes not only brilliantly but almost seamlessly for the remaining bulk.

I was surprised to find the movie was made in 1990. I was initially under the impression that it was from the same era of Ken Loach’s “Poor Cow”, “Kathy Come Home”, and the like, and even as the movie began, the production design is so terrific I still would never have imagined it was made so late were it not for familiar faces like Celie Imrie and David Thewlis. Rachel Portman’s music is a minor giveaway, too, once it gets going, but it’s still all surprisingly old school.

I’d’ve personally liked it to be a little more electrifying, but it’s still highly recommended.

“Is she saved?” “No, but she’s nice.”

I’m trying foolishly to write a review of this movie after only an hour or two’s thought, but I know there’s a lot more thinking to do, not to mention at least one more viewing… but I think it’s probably worth getting some first thoughts down before they evaporate (unlikely).

Mel Gibson has succeeded on every level with this movie. I write this as an entirely non-religious, but entirely spiritual, person, and as that I have to say that what astonished and pleased me most about The Passion of the Christ was how restrained, unpreachy, unmanipulative, it really is. I’m not talking about the gore… both the gore and the “anti-Semitism” have been discussed plenty elsewhere. Briefly – yes it’s violent, but that’s the point; and is anyone calling Schindler’s List anti-German?

This is the time for a movie like this. Religion on the whole has been given a really, really bad slam in the past few years, fundamentalism has got out of hand (to say the least), and we joke about the nuisance of Jehovah’s witnesses, the wars carried out in God’s name, and the basic bizarre rituals of many key religions. Kevin Smith’s Dogma, in my opinion, is as much a masterpiece as The Passion for rightly poking fun at the hokey aspects of organised religion. I apologise for this paragraph to anyone who is religious – it’s just my opinion.

The Passion can easily be watched as a religious movie – as we’ve seen, with Christian leaders paying for their whole congregation to go and see it all across America. It definitely works that way. But it can also be watched, as I watched, for a truly great story – indeed, as another cinematic-representation called it, possibly The Greatest Story Ever Told (I haven’t seen that one). I genuinely don’t intend to belittle the life of Jesus by calling it a great story – yes it makes me sound like a shallow movie executive. I mean story in the grandest sense – something that addresses human problems universally. The Passion is about cruelty and love, having the courage of your convictions to the bitter end, loving your enemies. Gibson has succeeded in making me want to pick up the Bible again, reminded me that there is some good, even a lot of good, within those pages, that though people can take these good words and justify absolute evil, it was far from intended.

There’s basic human truths in all religions… this is only one story, and Gibson’s major achievement is that he doesn’t glorify it at all – I’ll say again, I was absolutely overwhelmed by how little he tried to be a converter or preacher. If I remember right, there are only two major miracles in the whole movie – the restoration of the guard’s ear at the beginning, and, of course, the resurrection (I’m sure I’m not issuing spoilers here…), which is so delicately touched upon, you can read it as you will. I mean, the fact is, Jesus does live on, real or exaggerated or not, in churches and worship places all over the world.

In the first half hour I was really worried that this was going to be another Matrix: Reloaded for me. I’ve been fearing this ever since I heard about the movie, which was possibly years ago – that I was too excited by the prospect of Mel Gibson doing a total art movie – “the last 12 hours of Jesus’ life all in Arameic and Latin… wow…” and it would be a let down. I was as certain this movie would be great as I was that Matrix: Reloaded would be great. Fortunately in this case, I was far from let down. It took a while for The Passion to hit me, but hit me it did, as Jesus carries his cross, barely carries it, and I realised I was watching this movie devoid of English language and I’d all but stopped reading the subtitles, I had completely forgotten I was watching a foreign language movie, I had become completely lost in a depiction of “history”. Like a lot of other viewers, I really lost it during the last half of the movie, I reacted to the cruelty inflicted on this innocent man, whether his message was true or not. The movie touched me deeply and I think that’s the highest praise coming from someone like me for a movie like this.

There was something about this movie that I absolutely loved, and I’d definitely watch it again. I don’t know how the Omen movies were planned – did they know it was going to be a trilogy? Did they know when making Damien that there would be a third one? ‘Cos that’s how this movie feels – it really feels like a Part II movie. It could have been a lot better, but then so could the first. Not a great movie at all, but definitely interesting. Comparing the style of the deaths between this and the first is particularly bizarre. They’re so less grand, yet more disturbing for it.