«Marie Madeleine»

Cinema Wednesdays - Loris S. Musumeci

«God would want you to become a mother.»

Judea, thirty-third year of our era. The landscape is dry; the water enlivens it. Two women are fishing with a net. They are urgently interrupted, as another woman in the household is due to give birth. Marie Madeleine (Rooney Mara) alone manages to find the words and attitude of relief. However, she has never experienced childbirth. But it's not for lack of trying to marry her off. Her family tried to find the right man for her, but she was never satisfied. In fact, marriage itself seems to repulse her.

A healer is called in; no doubt she's possessed by some demon. Moreover, given her situation and her difference, everyone thinks she's crazy. The violent, relentless cure fails. Another healer «who is not like the others» comes to find her: his name is Jesus. «I don't find any demons here», he tells her. Seduced, she wants to follow him on his preaching journeys. An abrupt detachment from her family, a crisis, but she had no choice. Mary Magdalene felt deeply called by Jesus. She found her way: to follow him. To the cross and beyond.

Ideological and theological debates

Marie Madeleine is causing quite a stir. The director, Garth Davis, Since then, he has been seen as one of the reformers of biblically inspired cinema. His reform also touches on historical and theological points concerning the life of the «apostle of the apostles». Some see in it the re-establishment of a more just vision of women and their relationship to Jesus; others, a gratuitously ideological work. In fact, the debate is rather sterile, insofar as Garth Davis is free with his art. The copyright on the life of Christ has long been available to anyone, whether believer or atheist.

Nevertheless, it remains to be said that the director has indeed decided to deliver a rather feminist message in his film. Shocked ecclesiastics notwithstanding, the view of Mary Magdalene is in line with current Christian doctrine. Indeed, she is no longer necessarily seen as a converted prostitute; indeed, women were faithful disciples, imbued with a more direct and solid faith. Iconoclasts be damned, Marie Madeleine is only a film, and not everything in it is to be considered the word of the Holy Spirit.

Theological and moral considerations in cinema

In addition, the choice to show Judas as an enlightened man dreaming of joining his dead wife and daughter in paradise is interesting, but another subject for debate. The same applies to the cast, which includes black-skinned actors among the apostles - as in the case of Peter. Here again, the director is free to give his own take on the matter. On the other hand, there are real flaws, as well as qualities, in the film that are pure cinematic art. They need to be mentioned. Otherwise, the viewer will fall into the trap of a purely theological-moral consideration of the film.

The quality of the acting is very uneven. While the women - particularly Rooney Mara in her interpretation of Mary Magdalene and Irit Sheleg as Mary, mother of Jesus - manage to touch the audience with their clean, expressive and sober acting, this is not the case for the men. Judas (Tahar Rahim) overplays the enlightened ones; Pierre (Chiwetel Ejiofor) overplays the tough, strong, insensitive guys who are nonetheless moved because faith is so good! At the very top of the ridiculous list, however, is the character of Jesus (Joaquin Phoenix). While the actor should have excelled in the service of his subject, he limits himself to playing a screaming alcoholic with a vacant stare. Deeply disappointing.

A mediocre film

On the musical side, the same excesses of the too spiritual and mystical are to be noticed. The ascending violins are intended to mark the low hours, but end up becoming absolutely tedious. As for the photography, in contrast to the overall technical work for the film, it is a success. The purity of its grain and bland colors, turning warm orange at times, is a real feast for the eyes. Aside from Garth Davis's talent with landscapes, the frozen shot of the crucifixion is seductive. Like a painting, the moment of death resurrects the film, giving it unspeakable power.

Even so, the film remains mediocre in the end. It will not follow in the footsteps of biblically inspired masterpieces such as the recent Passion of the Christ by Mel Gibson, the Jesus of Nazareth by Franco Zeffirelli or The Ten Commandments by Cecil DeMille. Unfortunately, Garth Davis's film doesn't even come close. Unlike the eternity of Mary Magdalene's sublime character, Marie Madeleine will soon be forgotten.

«I saw it. It wasn't a dream.»

Write to the author: loris.musumeci@leregardlibre.com

Photo credit: © Universal Pictures