Originally Posted By: Capo de La Cosa Nostra
My problem isn't the subject matter, it's Gibson's treatment of it. I don't laugh out of heartlessness, I don't laugh at the fact that Jesus is getting tortured to death; I laugh at how self-serious it is, at the slow-motion, at the utter seriousness with which it's all depicted. The music, the performances, the sense of pornographic ritual to it all. It's bloated, it's rubbish.


Isn't the concept of religion something very self-serious? Wouldn't preachers crucify Christ in their sermons, describing it with such slow painful words that make audience flinch? We obviously have problem with the subject matter. We can't take it. It's all loaded. We simply can't look at objectively.

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But that's quite a unique, odd choice to make, no? To shoot your film in a language nobody no longer speaks. And does that make it more believable than our average thriller? Is it merely a case of authenticity? I'm not sure.


It certainly stands out. But other than that, what do we learn about their culture or customs? They could be any tribe, anywhere in the world. It merely passes as more authentic.

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Firstly, I'd be interested in what you make of the films I referenced - watching them, and seeing how their depiction of violence may differ from Spielberg's.


From those you mention I think I've seen "The Texas Chain Saw Massacre," but don't remember much. I remember Irreversible though. I've to say I simply disagree when you put Munich as pornographic, but Irreversible as genuine portray of pain and violence. To me it is quite the opposite, though you put your finger on a very interesting scene at Munich that felt artificial to me as well. I also agree that Spielberg uses emotional manipulation, but how else would you make viewers feel what an assassin would feel in course of a long time with what you have to offer in course of a couple of hours?

Of course Munich is emotional manipulation, compared to Irreversible that's merely projection of violence and serves little to take you anywhere; it is so abstract and detached.

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In contrast, I watched Waltz with Bashir at the cinema the other week and was floored by its daring and ambition, neither of which Spielberg has shown in years. In that film - an animated documentary - the director and protagonist visits several close friends with whom he served in the military years ago, with the intention of finding out what truly happened on a day he can only remember in fleeting memories. Some of the violence in that was not only necessarily brutal, and effective, but affective, too. I think it had something to do with the nature of the narrative - what we were seeing were reconstructions of someone's memory, a memory scarred into "forgetting" past events; and so what we are seeing, what is being revealed, is also a revelation for the protagonist. It's very immediate, very urgent.

Munich, on the other hand, seems tame and pedestrian by comparison.


I've heard a great deal about this one. But isn't a bit strange comparing an animation to technical aspects of Munich? At any case, thanks for sharing your thoughts. Spielberg has always felt artificial and detached to me. This was the closest emotional experience for me among his movies.


"Fire cannot kill a dragon." -Daenerys Targaryen, Game of Thrones