The main action in The Passion of the Christ consists of a man being horrifically beaten, mutilated, tortured, impaled, and finally executed. The film is grueling to watch — so much so that some critics have called it offensive, even sadistic, claiming that it fetishizes violence. Pointing to similar cruelties in Gibson’s earlier films, such as the brutal execution of William Wallace in Braveheart, critics allege that the film reflects an unhealthy fascination with gore and brutality on Gibson’s part.
Introduction to the Film
Tenggelamnya Kapal Van Der Wijck is a legendary Indonesian novel written by Hamka (Haji Abdul Malik Karim Amrullah) in 1938. The story, a tragic romance highlighting the clash between Minangkabau tradition and modernity, has been adapted multiple times. The most notable modern adaptation is the 2013 film directed by Sunil Soraya, starring Herjunot Ali, Pevita Pearce, and Reza Rahadian. The movie tells the story of Zainuddin, a young man of mixed heritage, who is rejected by the family of his beloved Hayati due to his status, leading to a tragic ending when the ship Van Der Wijck sinks. Tenggelamnya Kapal Van Der Wijck Pencuri Movie
The sinking of the Van Der Wijck ship in Hamka’s story is a metaphor for doomed love and societal rigidity. The "pencuri movie" phenomenon surrounding its 2013 film adaptation represents a different kind of sinking—the sinking of creative industry ethics. While the film brought Hamka’s timeless story to a new generation, piracy ensured that the creators, actors, and crew did not receive their full due. The case of Tenggelamnya Kapal Van Der Wijck remains a textbook example in Indonesian film discourse of how cultural heritage and modern piracy tragically collide, leaving the film industry to drown in lost revenue while audiences consume art stolen in the dark. Introduction to the Film Tenggelamnya Kapal Van Der
When Tenggelamnya Kapal Van Der Wijck was released in Indonesian cinemas in late 2013, it became a massive box office hit, drawing audiences from various generations—fans of Hamka's literature, romance drama enthusiasts, and general moviegoers. Due to its high demand, the film immediately became a prime target for "pencuri movie" operations. Within days of its theatrical release, low-quality camcorder versions appeared on illegal websites and pirated DVD stalls across Indonesia. The movie tells the story of Zainuddin, a
The original DVD edition of The Passion of the Christ was a “bare bones” edition featuring only the film itself. This week’s two-disc “Definitive Edition” is packed with extras, from The Passion Recut (which trims about six minutes of some of the most intense violence) to four separate commentaries.
As I contemplate Mel Gibson’s The Passion of the Christ, the sequence I keep coming back to, again and again, is the scourging at the pillar.
Abraham Foxman of the Anti-Defamation League declared recently that Mel Gibson’s The Passion of the Christ is not antisemitic, and that Gibson himself is not an anti-Semite, but a “true believer.”
Link to this itemI read a review you wrote in the National Catholic Register about Mel Gibson’s film Apocalypto. I thoroughly enjoy reading the Register and from time to time I will brouse through your movie reviews to see what you have to say about the content of recent films, opinions I usually not only agree with but trust.
However, your recent review of Apocalypto was way off the mark. First of all the gore of Mel Gibson’s films are only to make them more realistic, and if you think that is too much, then you don’t belong watching a movie that can actually acurately show the suffering that people go through. The violence of the ancient Mayans can make your stomach turn just reading about it, and all Gibson wanted to do was accurately portray it. It would do you good to read up more about the ancient Mayans and you would discover that his film may not have even done justice itself to the kind of suffering ancient tribes went through at the hands of their hostile enemies.
Link to this itemIn your assessment of Apocalypto you made these statements:
Even in The Passion of the Christ, although enthusiastic commentators have suggested that the real brutality of Jesus’ passion exceeded that of the film, that Gibson actually toned down the violence in his depiction, realistically this is very likely an inversion of the truth. Certainly Jesus’ redemptive suffering exceeded what any film could depict, but in terms of actual physical violence the real scourging at the pillar could hardly have been as extreme as the film version.I am taking issue with the above comments for the following reasons. Gibson clearly states that his depiction of Christ’s suffering is based on the approved visions of Mother Mary of Agreda and Anne Catherine Emmerich. Having read substantial excerpts from the works of these mystics I would agree with his premise. They had very detailed images presented to them by God in order to give to humanity a clear picture of the physical and spiritual events in the life of Jesus Christ.
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