By Adele Reinhartz
Movies that have drawn notion from the Bible, both at once or in some way, were very hot because the earliest days of cinema. Bible and Cinema: Fifty Key Films introduces quite a lot of these video clips, that are one of the most crucial, critically-acclaimed and highest-grossing movies of all time, including:
- The King of Kings
- The ardour of the Christ
- Close Encounters of the 3rd Kind
- 2001: an area Odyssey
- Apocalypse Now
- Monty Python’s lifetime of Brian.
Written via a crew of foreign students, the fifty entries talk about the Biblical tales, characters or motifs depicted in each one movie making this publication the fitting consultant for somebody attracted to the long-standing courting among the Bible and film.
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Extra resources for Bible and Cinema: Fifty Key Films
This smaller gathering of the faithful is akin to the Indre Mission or Inner Mission, a pietistic movement within the Folkekirken characteristically focusing on conversion, personal faith, and holy living (Tolderlund-Hansen 1964: 75–9). 20 Babette’s Feast The unlikely Christ-ﬁgure of the ﬁlm is the outsider, Babette Hersant, who ﬁrst appears on the doorstep of the sisters, when they are both ‘past the ﬁrst ﬂush of their youth’. In order to understand Babette’s entry into the story, however, we must ﬁrst attend to the stories of two other outsiders: Lorens Löwenhielm and Achille Papin.
Though Herzog disavows that Aguirre 11 connection (Cronin 2002: 93), it is hard to dismiss signs of death and the ‘rebellion against an inevitable and catastrophic defeat’ so pervasive in Aguirre and similar ﬁlms as unrelated to the destruction of Nazi Germany (Nagib 2011: 82–83). At the end of the ﬁlm, Aguirre, the lone ﬁgure on the raft of death, still dreams of ﬁnding Eldorado, taking Trinidad from the Spanish crown and Mexico from Cortez. His daughter dead at his feet, he delivers a trancelike soliloquy: ‘I, the Wrath of God, will marry my own daughter and with her I will found the purest dynasty the earth has ever seen.
In that dusty, desperate world, the ﬁlm represents the need for redemption on two levels. Using classical categories of moral theology, the community of the Cafe is aﬄicted by an original sin, most evident in the hopeless disharmony of life there – and for which no single person seems responsible – a situation of collective moral paralysis. More signiﬁcantly, each member of the community has their own personal disharmony or sinfulness, a situation that aﬄicts them and contributes to the general moral disorder.
Bible and Cinema: Fifty Key Films by Adele Reinhartz