The first time I saw Martin Scorsese’s The Last Temptation of Christ, I had to cross a picket line to do it. Angry fundamentalists had installed a protest group outside the theater where it was playing, and as I walked to the box office, I was spat at, cursed, and called offensive names. After watching one of the most reverential and adult handlings of the story of Christ that I had even seen, I was eager to go outside and tell the protesters the joyful and fulfilling experience they were missing. Alas, they had left, and I never got the opportunity to share my feelings about it. Until now.
The Last Temptation of Christ (Blu-ray)
Directed by Martin Scorsese
Studio: Criterion
Year: 1988
Aspect Ratio: 1.85:1 1080p AVC codec
Running Time: 163 minutes
Rating: R
Audio: DTS-HD Master Audio 5.1 English
Subtitles: SDH
Region: A
MSRP: $ 39.99
Release Date: March 13, 2012
Review Date: March 6, 2012
The Film
4.5/5
Jesus of Nazareth (Willem Dafoe) is a simple carpenter making crosses for the Romans and struggling daily with a growing sense inside him (manifested in migraine headaches and voices) that he is special and is bound for a greater purpose. Returning from a ten day sojourn in the desert where he comes face-to-face with Satan and has his life’s function revealed to him, Jesus is convinced he’s the Son of God and becomes a warrior for love and truth. With his best friend Judas (Harvey Keitel) at his side along with other devoted followers of both sexes, Jesus fulfills his destiny but not before Satan makes one final attempt to deflect Jesus from his chosen path.
Though the film’s textural prologue (taken from the original book by Nikos Kazantzakis) makes it clear the film is a work of fiction not based on gospels but instead catapulting historical figures into the eternal struggles between flesh and spirit, many of the familiar tenants of Christ’s story are present and accounted for: making the blind see, turning water to wine, raising Lazarus from the dead, driving the money changers from the temple, the triumphant procession into Jerusalem, the Last Supper, and His capture in the garden along with a graphic (but not excruciatingly so) depiction of the crucifixion. Scorsese handles all of these events not with synthetic pious reverence but with living, breathing vitality giving the movie a much more modernized feel and tone than is present in most of the previous films about the Son of God. And with the title character, he’s given us a Jesus that’s realistically human (the side of his persona that other films often neglect) struggling to understand his place, capable of weakness and doubt. This carries right through to the film’s most controversial element: the temptation of Jesus while on the cross to deny his mission on Earth and instead succumb to the lure of the trappings of man: home, carnal love, and family. Handled with sensitive delicacy but unabashed directness, the scenes aren’t the least bit blasphemous but rather an alternative that, in the end, Jesus rejects. Those critical of the notions of Christ’s temptations have missed the point: as part of the world he walks and will one day reign over, there is nothing unpleasant or sinister about His consideration of these things for Himself. The fact that He ultimately finds his purpose to be a higher and nobler one should elevate the film’s achievement and not make it a cause for scorn or dismissal.
Blond and blue-eyed though he may be, Willem Dafoe makes a completely convincing Christ: troubled, tormented, driven but also loving, faithful, and at last peacefully resigned to His destiny. Judas’ love-hate relationship with Jesus finds kinetic forcefulness in the hands of Harvey Keitel who imbues his character with a vigor and dynamism that is a startling contrast to Dafoe’s performance. Barbara Hershey has soulful gusto as the tainted Mary Magdalene while Andre Gregory makes a fiery, furious John the Baptist. David Bowie has an astonishing cameo as a sedate, reasonable Pontius Pilate that’s tremendously effective, and Harry Dean Stanton as Saul/Paul likewise impresses with his serious intensity.
Video Quality
4.5/5
The transfer has been framed at its theatrical aspect ratio of 1.85:1 and is presented in 1080p using the AVC codec. It’s an exceptionally clean transfer, and for the most part its sharpness is exemplary. Occasionally contrast seems to waver in consistency resulting in images with a slightly digital or milky appearance. Color is nicely rendered and usually consistent though flesh tones can sometimes be a tad rosy or pink. Black levels are usually quite good. The film has been divided into 29 chapters.
Audio Quality
4.5/5
The DTS-HD Master Audio 5.1 sound mix finds its most expressive use in Peter Gabriel’s fascinatingly unique music score. Spread through the entire soundfield, the music resonates with heft and effectiveness. Dialogue is mostly well recorded (there are a few garbled lines here and there) and has been placed in the center channel. Though ambient effects aren’t always consistently applied to the surround channels, when the sound mixers decide to go full out as in the crucifixion sequence, the spread is most impressive and at one point even reaches system-threatening levels of sound.
Special Features
3.5/5
The audio commentary has been patched together from comments by director Martin Scorsese, star Willem Dafoe, and writers Jay Cocks and Paul Schrader. It’s an illuminating commentary giving plenty of background information and anecdotes on the making of the movie and reactions to its critical and public reception. A must listen.
There is a step through photo gallery of costume sketches and photographs of the actors in their costumes.
Another step through photo gallery of production shots and publicity stills is provided.
“On Location in Morocco” is a 15 ¾-minute behind-the-scenes VHS diary of director Martin Scorsese shooting for a two week period during November 1987. It’s presented in 1080i.
An interview with composer Peter Gabriel includes a text page introduction, the 12-minute 1080i interview in which the musician talks about his approach to the material, and a step through photo gallery showing unusual instruments used to create the sound for the music and more shots of the production team back home.
An enclosed folded pamphlet offers the cast and crew lists, an interesting essay on the film and its reception by film critic David Ehrenstein, and a couple of color stills.
The Criterion Blu-rays include a maneuvering tool called “Timeline” which can be pulled up from the menu or by pushing the red button on the remote. It shows you your progress on the disc, the title of the chapter you’re now in, and index markers for the commentary that goes along with the film, all of which can be switched on the fly. Additionally, two other buttons on the remote can place or remove bookmarks if you decide to stop viewing before reaching the end of the film or want to mark specific places for later reference.
In Conclusion
4.5/5 (not an average)
Bold but bracingly spiritual and powerfully thoughtful, Martin Scorsese’s The Last Temptation of Christ is a film that people of faith can embrace without reservation. With a pristine picture and sound superior to many theatrical presentations, this Criterion Blu-ray is a sterling effort. Highly recommended!
Matt Hough
Charlotte, NC
