The contrary side of Mary
James Baldwin was a man who knew Malcolm X, Medger Evers and Martin Luther King Jnr.
And Baldwin was deeply saddened and disturbed by the death of each of them.
Raoul Peck’s 2017 documentary takes archival footage of the writer and raconteur, blends it with his words, which is narrated by Samuel L Jackson, and comes up with a portrait of white America’s attitudes to its African American counterparts that feels hauntingly and shockingly relevant today.
‘‘A ferociously well-argued, blazingly intelligent, wondrously layered and utterly watchable piece of work,’’ wrote Stuff’s Graeme Tuckett.
‘ In many ways, this is a political or ideologicalskewed version of events, with some time spent on the disciples debates about how best to get their message out to the people.
Mary Magdalene (M) 120 mins ESCHEWING the carnality controversy of Martin Scorsese’s The Last Temptation or the visceral vitality of Mel Gibson’s Passion, Garth Davis’ ( Lion) look at the final days of Jesus Christ offers an intriguing, alternative view of biblical events.
It’s the one of Mary Magdalene (Rooney Mara), here portrayed as a young woman from a small lakeside settlement who yearns for something more from life. Rejecting the arranged marriage organised for her, she brings ‘‘shame’’ on her family for daring to go out at night to pray.
With many in her village convinced she has a demon inside her, attempts are made to drown it out – with Mary only saved at the last moment by her sympathetic father. Admitting herself that, ‘‘I’m not as I’m supposed to be’’, Mary’s head is turned by reports of a charismatic man who has impressed those elsewhere with his oratory and healing hands – and this in an age of Roman rule which hasn’t kind to ‘‘baptists, prophets or gossips’’.
So when ‘‘The Rabbi’’ (Joaquin Phoenix) and his followers show up in Magdala, she decides to join them.
A female perspective isn’t the only innovation in this take on the rise, fall and rise of ‘‘the Messiah’’. Davis’ interpretation of Helen Edmundson and Philippa Goslett’s screenplay really scores points in its decision to keep the usually one-dimensional ‘‘evil’’ Romans pretty much out of the picture and don’t even mention Jesus by name until well into proceedings.
There’s a focus on character, rather than ticking off the expected ‘‘big moments’’, with the portrayal of the much-maligned Judas ( A Prophet’s Tahar Rahim) for once offering him a backstory and arguably ‘‘good intentions’’ for his betrayal.
In many ways, this is a political or ideological-skewed version of events, with some time spent on the disciples debates about how best to get their message out to the people. Yes, that does mean the film drags a little in places, but, coupled with Davis’ naturalistic leanings and a setting that almost entirely consists of exteriors lends a different, more intriguing kind of visceralness to that of Gibson’s blood-soaked frenzy.
Casting wise, Phoenix ( Gladiator) has always looked the part and his Jesus is suitably impressive. However, this is Mara’s ( Lion, A Ghost Story) film and she has the right mix of etherealness and determination to convince as a young woman trying to find her own place in the world.
Throw in a poignant, elegant score (sadly one of his last) by Johann Johannsson ( Arrival) and Icelandic cellist Hildur Guðnado´ttir and the result is an understated and elegiac drama. – James Croot