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of conflict, often fierce, between faith and secularism, the film seems to go against the showing positive attention to unpublished figures explicitly linked to the Christian faith.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 Saviour 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 historical figure with 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 while teaching in the extraordinary talents of his mother. 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 sets the stage (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, completely missing the underline 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 necessary for the male speaker than as a totally feminine wisdom and a little 'shaman, who lives with the relationship 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 paternal of God or to 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" his wife a little more than a child, never in any case part of an educational process which effectively excludes it. 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 eyewitness) becomes always smiling teenager (too much) and stubborn, which I think 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 (it is no coincidence that after the time gap between the camera vague faces of children who all could be the future Messiah), able to turn to a possessed person rejected by society and challenge the rabbi at the synagogue and ready to be shocked by the blood of the sacrifices of the Temple. Only a little 'ridiculous but the Magi, as a group of Church of the East knowing the court of Herod to make expressing intelligence halfway between the psychological test and tests for the recognition of the Dalai Lama on the outskirts of Nazareth. Their discussion (in ancient greek it sounds a bit 'surreal) is yet another articulation of didactic thesis suggestive as unreasonable (in the sense of inadequate to capture all the factors in play) of the 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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