Through Gibson’s inclusion of literal passages from the Gospels played out in various scenes, alongside dialogue and occurrences not found in any of the Gospels, he seemingly proclaims this intended message. By way of example, from the opening scenes of Jesus praying in the garden of Gethsemane, representative parts of each Gospel are included. Moreover, dramatic, stress filled, passages of scriptures are put on screen with an eerie horror-like backdrop and dark blue lighting tones. In the film, Christ prays to the Father asking “If it is possible, let this chalice pass of me. But let your will be done, not mine” (Gibson, 2004, scene 1). Similarly, He speaks a prayer in the Gospels (Matthew 26:42; Mark 14:36; Luke 23:42 New Revised Standard Version). Additional examples providing parallel expressions are a betrayal by Judas, in the form of a kiss (Matthew 26:49; Mark 14:45; Luke 22:48). Likewise, Simon Peter revolts and fights the guard, Malchus, cutting off his ear (John 18:10; Matthew 26:51; Mark 14:47; Luke 22:50) of which Jesus heals (Luke 22:51). Interestingly, Gibson adds a “tempter” to further capture his theological message. Nowhere in the Gospels is a tempter mentioned during Jesus time in the garden. Perhaps Gibson was playing out the words that Jesus said to His disciples in the Gospel of Matthew to “Stay awake and pray that you may not come into the time of trial; the spirit indeed is willing, but the flesh is weak” (Matthew 26: 41). Clearly, Jesus is experiencing extreme distress over the atrocity He would endure, which we do read about in Luke 22:44, but the intensity seems further magnified through the presence of the tempter. After much emotional torment, viewers of the film witness Jesus determinately
Through Gibson’s inclusion of literal passages from the Gospels played out in various scenes, alongside dialogue and occurrences not found in any of the Gospels, he seemingly proclaims this intended message. By way of example, from the opening scenes of Jesus praying in the garden of Gethsemane, representative parts of each Gospel are included. Moreover, dramatic, stress filled, passages of scriptures are put on screen with an eerie horror-like backdrop and dark blue lighting tones. In the film, Christ prays to the Father asking “If it is possible, let this chalice pass of me. But let your will be done, not mine” (Gibson, 2004, scene 1). Similarly, He speaks a prayer in the Gospels (Matthew 26:42; Mark 14:36; Luke 23:42 New Revised Standard Version). Additional examples providing parallel expressions are a betrayal by Judas, in the form of a kiss (Matthew 26:49; Mark 14:45; Luke 22:48). Likewise, Simon Peter revolts and fights the guard, Malchus, cutting off his ear (John 18:10; Matthew 26:51; Mark 14:47; Luke 22:50) of which Jesus heals (Luke 22:51). Interestingly, Gibson adds a “tempter” to further capture his theological message. Nowhere in the Gospels is a tempter mentioned during Jesus time in the garden. Perhaps Gibson was playing out the words that Jesus said to His disciples in the Gospel of Matthew to “Stay awake and pray that you may not come into the time of trial; the spirit indeed is willing, but the flesh is weak” (Matthew 26: 41). Clearly, Jesus is experiencing extreme distress over the atrocity He would endure, which we do read about in Luke 22:44, but the intensity seems further magnified through the presence of the tempter. After much emotional torment, viewers of the film witness Jesus determinately