Holywood's quest for the historical Jesus continues. Without even a decent pause for the snears to die down after Ron Howard's disappointing adaptation of The Da Vinci Code, we are now to be offered another challenge to traditional depictions of Christ. , to be premiered in Cannes this week, tells the story of the last forty-eight hours of Christ's life.
So far, so Passion of the Christ. The twist here, from director Jean-Claude La Marre, is that this film features a dark-skinned messiah, and explores (or exploits, as critics will suggest) some historical speculation that the historical Jesus may have been of African descent. Jean-Claude LaMarre, is a black actor, director, producer and writer -- you may remember his cameo in Malcolm X -- who directed Brothers in Arms, Gang of Roses, and the Go for Broke movies. The picture adorning this post is from (2003), with La Marre as a murdered Baby Face Malone, lying against the body of Lil' Kim. It's not quite , but you get the idea.
Color of the Cross will inevitably become embroiled in America's embattled race politics, but one can hope it will attract a more thoughtful reception in Europe.
Zeffirelli's (1977) is seen by some as the benchmark of the Jesus film genre, but left Jesus looking like in the minds of a generation of filmgoers. Yet even that rather reverential (if technocolor) re-telling of the Gospel story (yes, albeit with the help of Anthony Burgess as a screenwriter) courted controversy at the time. Scorsese's (1988), an adaptation of the novel by Nikos Kazantzakis courted considerably more controversy, but is, for my money, a vastly more interesting film -- in the main because of its willingness to see Jesus as a complex puzzle rather than a simple icon.
La Marre, who plays Jesus in Color of the Cross, says:
[This is] not about dividing Christians, but broadening their perspective. For centuries, Leonardo Da Vinci's portrayal of Jesus has been widely accepted. We are offering an alternative image. There's room for all. We will be seeking the Pope's blessing on this one.
Given La Marre's love of the Western -- another traditionally 'white' film genre -- it'll be interesting to see his treatment of the Jesus story. After all, cinema's Jesus genre is arguably another version of the Western genre: the lone stranger (often wearing a white stetson) who rides into town, an alien of sorts, to comfront the forces of evil (often wearing black stetsons) and, in the final reel, lays down his life to set the townfolk free. Will La Marre's film switch the stetsons and show Golgotha as ?