Rightwing Film Geek

A good piece in the Village Voice (really)

gibsonbraveheart.jpgThanks, Phil (are you part of an Experiment by the way?) for pointing me to a piece by Jessica Winter on Mel Gibson’s filmography. As you said in the comment field, it’s kinda dumb when discussing THE PASSION OF CHRIST or religion as such. I had to grit my teeth through the nonsense phrase “fundamentalist Catholic” and the imputation of anti-Semitism on the “Traditionalist Catholic” movement (to which the relationship of Gibson himself, rather than his father, is not crystal-clear in any event. Certainly Mel has said some interesting things, but to my knowledge, he’s never publicly declared himself a Sedevacantist, called the Second Vatican Council invalid, or even spoken of his religious beliefs in detail at all).

But when Winter cuts the crap and gets down to discussing Gibson’s movies, she is quite intriguing. If it hadn’t been for SIGNS or BRAVEHEART, I would have been inclined to pooh-pooh the theory of Mel as Christ figure. After all, Jesus is only the most influential figure in Western history. The kinds of images of Christ that Winter analogizes to moments in Gibson’s filmography have centuries of Western iconography or language (“crucified” can now mean just “persecuted unjustly”) behind them, and moviemakers of every variety have drawn on various pieces of them to illustrate images of suffering or “holiness” (first example to pop into my head: Oliver Stone’s PLATOON). And to her credit, Winter recognizes that — there’s a tradition behind whatever gore will be in THE PASSION OF CHRIST that the LETHAL WEAPON movies don’t. But the very lack of context would push me toward the conclusion that it was just writers, directors and actors just using a quickly-available concept without thinking it through (like the superfluous “Death of Marat” shot in ROAD TO PERDITION).

gibsonsigns.jpgBut those two films do make it seem like Gibson’s been leading toward this. I liked SIGNS quite a bit (and a film about a priest regaining his faith fits my own life’s trajectory as a revert), though I preferred it more as a straightforward creepy Twilight Zone episode rather than as Christian theology. It’s pretty threadbare on those latter terms, basically a God of the Gaps. Nothing in SIGNS committed the film to any conception of metaphysical truth. But viewing it as religious psychology, as Winter does, makes it more about how “a man who’s lost his faith in God is as a petulant child who hasn’t gotten his way.”

The execution of Wallace in BRAVEHEART referenced the Crucifixion 100 ways to Sunday. Check out the first picture on the Voice article, which is as clear a Crucifixion reference as it gets, in contrast to say, the pictures from LETHAL WEAPON (which looks like an S&M club), from MAD MAX BEYOND THUNDERDOME (which looks more like a Hindu or Muslim funeral, than a Christian or Jewish one), or from PAYBACK (a reference to RAGING BULL or 1,001 other boxing movies). People who have seen THE PASSION OF CHRIST said the violence reminded them of BRAVEHEART, and certainly secular nationalisms, Scottish or otherwise, have tended to try to latch onto a martyr figure. When I was learning Scottish history as a boy, though, Robert the Bruce and his final victory at Bannockburn got a lot more press time than William Wallace and the defeat at Falkirk; Wallace’s execution was mentioned, but not gone into detail, though I was only a wee lad at the time. In other words, Gibson was pouring Scottish history into a Christian template with Wallace as Jesus.

November 10, 2003 - Posted by | Uncategorized | , , ,

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