by Viv Wilby
It’s not hard to see Pier Paolo Pasolini’s 1964 film, Il Vangelo Secondo Matteo (The Gospel According to St. Matthew), as a deliberate shift away from, perhaps even rebuke to, the style of religious filmmaking that had poured out of Hollywood in the 1950s and early 1960s. These were gaudy, technicolor affairs, stuffed with earnest matinee idols, hammy character actors and hundreds of extras. Starlets draped in wisps of chiffon would flash kohl-rimmed eyes at pained looking holy men. And just in case we were in danger of forgetting, a stentorian voiceover would remind us that This Is The Word Of The Lord.
In contrast, Pasolini’s film is simple and spare. Shot in stark black and white with a cast of non-professionals, it follows the linear narrative of Matthew’s gospel. We move through the familiar beats of Christ’s life: the visit of the three wise men and flight into Egypt; the baptism in the river Jordan and temptation in the wilderness; the calling of the apostles; the preaching and miracles; culminating in Christ’s arrival in Jerusalem, his betrayal by Judas Iscariot, arrest, trial, crucifixion and resurrection. Continue reading The Gospel According to Pasolini