Dubbed "the most Catholic of all film directors" by one critic, I guess it was only a matter of time before Roberto Rossellini tackled the life of Christ on celluloid. Ironically, this he did in what proved to be his last feature film which was, in itself, a follow-up to his TV mini-series ACTS OF THE APOSTLES (1969). That earlier work was interesting for treating little-known passages from the New Testament but, with an unhurried pace and a generally unassuming tone, the end result was decidedly meandering. Conversely, THE MESSIAH presents all-too-familiar events – with the overall effect feeling lengthy still, yet distinctly more cinematic. That said, it starts off with the arrival of the Jews in the Promised Land and the appointment of their first king (Saul) before moving on to the life of Christ; actually, this is also one of the few films to show the famous incident in which Jesus is lost in the temple as a boy. Unsurprisingly, it doesn't stray much from the spirit – or word – of the Gospels: even so, in the throes of an agonizing death, Herod The Great (played by Vittorio Caprioli – though his trademark flustered demeanor is downplayed by having his voice dubbed) is seen planning the annihilation of his own subjects akin to the practice of ancient Egyptian rulers!Incidentally, the rich and commanding voice of Christ himself is supplied by Enrico Maria Salerno – a superb actor in his own right who had actually already handled the very same task in THE GOSPEL ACCORDING TO ST. MATTHEW (1964) – which is effectively contrasted with the inconspicuous appearance of the young man who appears in the role (perhaps best approximating the Lothaire Bluteau of Jesus OF MONTREAL [1989]). This Messiah, then, is far removed from the striking good-looks of Jeffrey Hunter (KING OF KINGS [1961]) and Robert Powell (the Jesus OF NAZARETH [1977] TV mini-series) or the brooding power of Max von Sydow (THE GREATEST STORY EVER TOLD [1965]) and Willem Dafoe (THE LAST TEMPTATION OF Christ [1988])! Naturally, the bulk of the narrative is devoted to Christ's public life – though no overdue emphasis is placed on the miracles he performed (these are mentioned but rarely seen) – which also provides the film with its essential core…since the latter section, revolving around the more commonly-depicted events of Jesus' trial (where Jean Martin, the French Colonel in THE BATTLE OF ALGIERS [1966], nonetheless makes for a fine Pontius Pilate), crucifixion and eventual resurrection are curiously skimped here!The subplot involving John The Baptist, however, is quite nicely handled; by the way, the only other recognizable face in the cast is that of Tina Aumont (even if her contribution amounts to no more than a few minutes of screen-time!) as the adulteress Christ famously pardons by denouncing her pursuers instead. The score is, once again, by Mario Nascimbene – though it's not as prominent as his work on ACTS OF THE APOSTLES. On the visual side, the film seems closest to the contemporaneous Jesus OF NAZARETH – yet the lyrical style and quiet dignity on display makes of THE MESSIAH a more than worthy companion piece to Pier Paolo Pasolini's aforementioned (and more renowned) THE GOSPEL ACCORDING TO ST. MATTHEW. With this in mind, while perhaps not the definitive film on the subject, it certainly emerges as an underrated achievement – both among the myriad treatments (including those by such great directors as D. W. Griffith, Carl Theodor Dreyer, Cecil B. DeMille and Abel Gance) of Christ's life over the years and in Rossellini's own highly respected canon.
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作为狄迷,以下打分纯粹个人观点,不喜勿喷。第一部武朝迷案我给分(估计更多狄迷会把系列里第二部给五星分以上)纯推理,离奇诡异,逻辑周密,上品。第二部,我打分,第一部分延续和推进,这一部应该是众多狄迷公认的顶峰,我也喜欢这个版本的姜昕言如燕,透明机灵和灵气。不过觉得剧情应该强化和细化推理剧情,弱化感情线,就更显高级感,比如谍战剧黎明之前。第三部,明显走下坡路,国产剧的共同诟病,剧情不够感情来凑。剧情无新意突破,重启卧底反转,老狄故事汇老套路,我打分(其中有分
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出狱后,程兵依然坚持以普通人身份追踪在逃嫌犯,展现了一个警察对职责的执着和坚定。这部电影深刻地探讨了警察面对生死考验时的担当与责任,令人敬佩。
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前任看完我居然想表扬自己没有眼泪?的冲动,生命需要充电,生活需要节点,每个人的前任故事也不一样,磨合,沟通是必修课。也许终将成为陌生人的视角,封存白月光的记忆。《前任》现代都市爱情观,演绎着爱情中的迷茫、困惑和选择。人物塑造鲜活且立体,尤其是主角的双强形象,他们的选择和处理问题的方式各有不同,使得电影的主题和内涵更加丰富。它通过生动的故事情节和鲜活的人物塑造,深入探讨了现代人在爱情中的困惑和选择,给人以深刻的启示。内容线索增加了电影的观赏性,又深化了电影的主题。主
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谷文通和欧阳文慧的故事,充满了温情、感性和真实。他们之间的感情,既有相互陪伴的温馨,也有理解和宽恕的成分。