Review of The Last Temptation of Christ (1988)

This is a highly ambitious, serious, and explorative film that in single scenes engages its material with a larger sense of wonder and reverence than the entirety of Mel Gibson's exploitive film ever could. In a disclaimer at the very onset of the film, Scorsese warns audiences that his film is not intended to be a retelling of one or any of the four gospels, but rather an artistic exploration of the dual nature most Christians attribute to Christ, of what the spiritual struggle may look or feel like for one who is fully human, and yet fully divine. Themes of sin, guilt, condemnation, redemtion and salvation are central to much of Scorseses' work and he is a proven master at sharing his stories of spiritual crisis on grand and epic scales, but also in ways that strike us and move us on personal and private levels. With Temptation, Dafoe gives us a Jesus that struggles, doubts, and truly suffers in his battle to accept and live his life as man, and as the human embodiment of God's will. His story is a fierce, tragic, and triumphant one, gritty and ugly in its pain and loneliness, serene and beautiful in its love and humility. Theologically this is a studious and brave effort that strives for meaning and larger understanding of one of the central tenants of the Christian faith. Cinematically this film is strong in many areas, but also a bit of a mess that invites questions about casting choices, pacing, and a rather episodic structure. Of the many that rose to the staggering challenge of making this film, Peter Gabriel deserves special mention for putting together one of the finest musical scores in cinema.