Magdalene gets feminist make over
A woman’s most cherished asset — her reputation — is at the mercy of jealous, controlling men in director Garth Davis’s revisionist religious drama, which tries to wash away the stains of ill repute from Jesus’ devoted disciple.
Mary Magdalene quietly trades in solemnity, echoing the current battle for parity waged by the Me Too and Time’s Up movements through the eyes of a misunderstood heroine at odds with the conventions of her time.
“I’m not sure that what happens to a woman is of much account here,” laments Mary (Rooney Mara), who is portrayed as a much-abused feminist trailblazer rather than the repentant prostitute depicted in western art and literature.
As a handsomely crafted sermon about spiritual awakening and sacrifice, Mary Magdalene preaches to the art house masses with aplomb.
Unfortunately, the film observes the title character from such a safe, reverential distance, it’s hard to connect with her on an emotional level beyond her soporific words.
The film opens on the coast of Judaea in 33 CE, where Mary of Magdala (Mara) tends the land with her brothers and sister.
The patriarchy strongly encourages Mary to marry a local man, whose children need a mother.
But Mary defies this edict and brings shame on her kin.
Soon after, Mary meets prophet Jesus Christ (Joaquin Phoenix) and he inspires her to join the ranks of the apostles.
The biblical scenes will be familiar to audiences of all faiths.
Mara and Phoenix deliver their lines with softly spoken earnestness, while Rahim teases out sympathy for his conflicted apostle, who will eventually betray Jesus.
But the tug of war between tradition and equality plays out far too gently to draw blood.