I AM WITH YOU / THE LADY THAT THE FILM "FORGET" THE SACRED
November 12, 2010
In times of conflict, often fierce, between faith and secularism, the film seems to go against the showing positive attention to unpublished figures explicitly linked to Christian faith. After the case of French Men of God, premiered at the Cannes Film Festival, arrives in an Italian film about the Mother of the Savior and the Church. It is not hard to believe in the sincerity and good faith inspired by Guido Chiesa, and documentary filmmaker struggling with the story of a very special mother, Mary of Nazareth, which affected the timeless charm. Not believing Church said to approach this figure with historical interest and respect, taking the extraordinary scope of a woman in which for the first time a religion, Christianity, sees the principle of salvation. This positive approach does not prevent you stay a little 'disappointed in front of a film that, while offering fascinating moments and insights, but lack the sense of the sacred that we would expect from a movie dedicated to this theme and runs out the uniqueness of Jesus in while extraordinary talents of his mother teaching. Mary seems, in fact, a sort of forerunner Montessori educator who, trusting in its connection with nature, which is often observed and carefully, gets in the way the Jewish culture of the time, macho, violent and legalistic. Significant, because in open contradiction to the Gospel saying instead that the Church says he has substantially complied, is the strong opposition to circumcision (ie the journey to Bethlehem and birth in the cave are the steps of a plan by Maria herself to escape the control family and society in the early days of the child), seen as a primary act of violence on the child, intended to mark it forever. Freeing Jesus from this traumatic experience, and leaving him free to explain his nature (which seems not to have anything particularly divine, as recognized by the Magi, wise impractical here sort of looking for a Messiah through tests by contemporary psychology), Maria raises the bases (and maybe even more) of the man who will.
If appreciable enhancement of freedom "creative" of Mary in salvation history, able to overcome legalism done a thousand prohibitions of the Jewish religion in the era of love for others, it seems strange that in a context that well you want historically reconstructed missing altogether underscore the messianic expectation that illuminated even the otherwise sterile formalism of some Jews. It is this absence, but we forgive the director informed, very little reliable history, but very significant in a perspective in which Jesus is more than necessary as male speaker of a totally feminine wisdom and a little 'shamanic living relationship with God in a personal nature and spiritualism that has nothing on the size of the Jewish people. If indeed the whole teaching of Jesus can be traced back to these first moments, days and years alongside such great mother does not understand why then Christ has taken the trouble to speak to the people of God's fatherly or sacrifice on the cross for the redemption of mankind. Difficult to get there from here also because of the weakness of the figure of Joseph, always a little 'person and in the background, now oppressed by the brothers - rigid fathers masters - now passed "left" by his wife a little more than a child, never in any case part of an educational process that actually rule it out. That Mary, who "meditates in his heart" the miracle unfolding of God's will in her womb and the first in the world then, as we told the St. Luke (the evangelist tucididea historian of inspiration, here evoked in the final, which was Madonna right in his first eye-witness) is transformed into smiling teenager (too much) and stubborn, whose credo of non-violence "has something very modern and too simplistic compared to the figure of the Gospels and Christian tradition. And human "Too Human" is this kid and baby Jesus (non è un caso che dopo il salto temporale la telecamera vaghi tra i volti di bambini che tutti potrebbero essere il futuro Messia), capace di accostarsi ad un indemoniato respinto dalla società e di contestare in sinagoga il rabbino e pronto a restare sconvolto dal sangue dei sacrifici del Tempio. Solamente un po’ ridicoli invece i Magi, nella versione di Chiesa un gruppo di sapenti orientali alla corte di Erode a fare esprimenti di intelligenza a metà tra il test psicologico e le prove di riconoscimento del Dalai Lama nei dintorni di Nazareth. La loro discussione (in un greco antico che suona un po’ surreale) è l’ennesima didascalica articolazione della tesi suggestiva quanto poco ragionevole (nel senso di inadeguata a cogliere tutti factors involved) Church of the film. Of which one can not appreciate the rush and sincere respect for his subject, but one can not help but to charge at least a certain lack of experience that ends up making an elusive subject that he feels so well ground. - Laura Cotta Ramosino - ilsussidiario -
http://blog.libero.it/Rober5/9500560.html
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