JESUS OF MONTREAL (J?SUS DE MONTR?AL) A Film Review Copyright Dragan Antulov 2001
In today's Amerocentric world few events can take universal importance and recognition without being connected to USA in some obvious way. This is true now, and it was true even a decade ago, before the end of Cold War and globalisation. One of the examples is the way Christian communities in the world reacted to films that were allegedly attacking the fundaments of their faith. First of them, Martin Scorsese's LAST TEMPTATION OF CHRIST got instant notoriety, was publicly denounced, boycotted and banned in many countries. However, global anti- Christian stigma branded on this film could not be explained only by the controversy of the material. At least part of the reason for such reaction lies in the fact that it was major Hollywood production, starring major American stars and being directed by one of the best-known and most respectable American director. Only a year later, Denys Arcand, the best known and most respected filmmaker in neighbouring Canada, also dared to question fundaments of Christianity in JESUS OF MONTREAL. This time there wasn't any reaction or major controversy - Arcand not only got away with this but also got himself prestigious Cannes Film Award in the process. One of the reasons for that is the fact that he shot film with cast of globally unknown actors and with exclusively French dialogues. So, this film couldn't have impact American or global mass markets and thus bring unwanted attention and controversy. This proved to be a mixed blessing for JESUS OF MONTREAL, because fewer people are aware of something that should be described as one of the finer films of the last century.
The plot of this film begins with Father Leclerc (played by Gilles Pelletier), Catholic priest who has been staging Passion Play in Montreal Catholic Sanctuary for almost four decades. Knowing that the times have changed and that the old-fashioned production needs refreshing, he hires young, talented but relatively unknown actor Daniel Coulombe (played by Lothaire Bluteau) to stage new, more modern version. Coulombe takes this job very seriously - he hires small troupe made out of mostly young or unemployed actors and actresses, while taking the role of Jesus for himself. In order to make his portrayal as realistic and convincing as possible, he spends a lot of time in historical research of Jesus and his times, and that research includes some new and controversial findings that would find its place in the new text of the play. When this modern, innovative and effective production premiers in front of the audience, the result is theatrical triumph, but Daniel and his colleagues have little time to celebrate because Church authorities aren't very enthusiastic about questionable content. When Father Leclerc demands that some alterations be made in the text, Daniel and his actors decide to defend their artistic integrity but their stand would have tragic consequences.
Whenever a film deals with divisive issues, its makers tend to take one side, and that, especially among less experienced directors, can lead to films turning into cheap propaganda. There are some critics who would undoubtedly view JESUS OF MONTREAL as nothing more than atheist attack on concept of religion, especially Christianity. Same as Coulombe's play within the film, JESUS OF MONTREAL approaches New Testament without awe expected by other directors - Jesus is presented as down-to-Earth historical character who became religious figure decades after his death; his message and everything else got distorted through centuries, and now serves only in order to maintain the power of hypocritical, corrupt and oppressive Church. However, although Arcand (who wrote screenplay for his film and appears in small cameo as judge) presents arguments against religion, he doesn't take clear atheistic stand - even the opposing, religious, side can find arguments for their cause. Reason for this near-heretical and yet very balanced approach is in very clever and effective film-making that blends serious drama with a lot of humour and satire. The title itself might explain the secret of this film - noble, mythical, ancient and religious figure of Christ is contrasted with glittering and ultra-materialist setting of Montreal, one of the most modern city of today's world. Arcand manages not only to utilise this sharp contrast but also to reconcile these opposing images with each other, same as the opposing views they are supposed to represent. This is achieved mainly by characters and events in modern-day Montreal being equivalent of those in New Testament; in some other instances all that would look anachronistic or corny, but here Arcand manages not only to pull it off but to create some moving scenes and long-lasting images, and the seemingly anti-religious tone of the film is compensated with humanist message that should reconcile atheists and believers alike.
While Arcand as screenwriter filled this film with clever allegories and multi-layered story elements and character, Arcand as director filled this film with impressive sights and sounds. Some of the images in the film are long-lasting and they have set the tone of the film. One of the greatest examples is the walking on the water which is performed twice in the film - once as part of Coulombe's play, and on another occasion it features half-naked actress Mireille (played by Catherine Wilkening) shooting perfume commercial. Arcand never misses opportunity to show majestic skyline and architecture of Montreal, while, in the same time, he also never fails to present hypocrisy and corruption that reigns in that city. The musical soundtrack is also great and features long range of sources - from Bulgarian folk, through classics to modern rock'n'roll. The acting - which should be the pivotal element of this film - is flawless. Lothaire Bluteau looked perfect for the part of Coulombe/Jesus and he justified all of Arcand's expectations while portraying artist who hid strong convictions and artistic passions bellow seemingly quiet exterior. Catherine Wilkenning is also great in the role of Mireille, Coulombe's colleague and love interest, same as Johanne-Marie Tremblay as equivalent of Mary Magdalene. Gilles Pelletier is great in the role of imperfect priest, while Yves Jacques is equally effective as Satan-like attorney specialised in milking show business clients.
All in all, whatever the audience might think or feel about issues presented in JESUS OF MONTREAL, this film is one of the excellent examples of superb filmmaking, which deserved its awards and which continues to be great viewing and thought-provoking experience.
RATING: 9/10 (++++)
Written on May 6th 2001
Dragan Antulov a.k.a. Drax Fido: 2:381/100 E-mail: dragan.antulov@st.tel.hr E-mail: drax@purger.com
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