Religion

• Jesus of Nazareth

Beginning before the Nativity and extending through the Crucifixion and Resurrection Jesus Of Nazareth brings to life all the majesty and sweeping drama of the life of Jesus (portrayed here by Robert Powell) as told in the Gospels. A star studded international cast featuring Michael York Sir Laurence Olivier James Earl Jones Anne Bancroft Olivia Hussey Rod Steiger and Anthony Quinn adds depth and humanity to the roles of the saints sinners and ordinary people who walked in the footsteps of the Lord. The film provides the setting and background for the birth childhood baptism teaching and many miracles of the Messiah culminating in the Divine Resurrection. Directed by Oscar nominee Franco Zeffirelli and acclaimed by critics and religious leaders worldwide Jesus of Nazareth tells the greatest of all stories with tremendous emotion and splendor.System Requirements: Running Time 382 MinFormat: DVD MOVIE Genre: DRAMA Rating: NR UPC: 012236128113 Manufacturer No: A012811

Originally made for TV in 1977, this in-depth (six hours plus) version of Jesus' life is so thorough that the first hour is devoted solely to the story of his birth. The film doesn't skimp on some of the other landmark events of this famous story either. Director Franco Zeffirelli gives more than 12 minutes screen time each to the Last Supper and the Crucifixion. Passages of the Bible are quoted verbatim, the locations have a Palestine-like authenticity, and, aside from some of the principals (Robert Powell as Jesus, Olivia Hussey as Mary, and Stacy Keach as Barabbas), many of the non-Roman characters are actually played by Semitic-looking actors. Zeffirelli diligently provides the sociopolitical background that gave rise to Jesus' following and the crisis in belief it caused for the people of Israel (and one or two Romans). While not graphic by today's standards, some of the scenes--baby boys being ripped from their mothers' arms and slaughtered, nails being driven into Jesus' hands--may disturb young and/or sensitive children. --Kimberly Heinrichs

• DVD
• 2-Disc Special Edition
• 16 X 9 LETTERBOX
• Digi-Pack
• Multi Disc
• Dolby Surround 5.1 - English Dolby Surround Stereo - French
• Audio Commentary: Feature-Length Commentary by Director ROLAND JOFFE Documentary: Making of The Mission - A Gripping Hour-Long Documentary Look at the Film's On-Location Shoot in Argentina and Colombia. Other: Cast/Director/Writer Film Highlights
• 2-Disc Special Edition

Featuring a majestic score by Ennio Morricone and lush Oscar-winning cinematography by Chris Menges. It won the top prize at Cannes in 1986 and was nominated for a Best Film Oscar. The film is shot through with piercing, haunting imagery, pictures of enduring imaginative force. A visually stunning epic, THE MISSION recounts the true story of two men--a man of the sword (Robert De Niro) and a man of the cloth (Jeremy Irons)--both Jesuit missionaries who defied the colonial forces of mighty Spain and Portugal to save an Indian tribe from slavery in mid-18th-century South America. Mendoza (De Niro) is a slave trader and colonial imperialist who murdered his own brother (Aidan Quinn) and seeks penance for his sins by becomining a missionary at Father Gabriel's (Irons) mountaintop mission. The Mission is a rich and thought-provoking. It contains moving images of despair, penance, and redemption that are among the most evocative ever filmed.

Roland Joffé (The Killing Fields) directs this fuzzy effort at a David Lean-like epic without David Lean's sense of emotional proportion. Lean's most important screenwriting collaborator, Robert Bolt, in fact wrote The Mission, which concerns a Jesuit missionary (Jeremy Irons) who establishes a church in the hostile jungles of Brazil and then finds his work threatened by greed and political forces among his superiors. Robert De Niro is briefly effective as a callous soldier who kills his own brother and then turns to Irons's character to oversee his penance and conversion to the clergy. The narrative and dramatic forces at work in this movie should be more stirring and powerful than they are--the problem being that Joffé is too removed from them to allow us in. --Tom Keogh

Anthony Quinn, Silvana Mangano, Ernest Borgnine. Richard Fleischer's inspirational tale of the vicious murderer that Pontius Pilate spared so that Jesus could be crucified in his place. 1962/color/137 min/NR/widescreen.

Starring Anthony Quinn in the title role, Barabbas was released in 1961 in the midst of a wave of widescreen epics based on biblical characters. The screenplay, by playwright Christopher Fry (who also contributed to Ben-Hur), is an unusually intelligent one. Further assets are the imaginative, sparingly orchestrated score by Mario Nascimbene and a handsome production design by art director Mario Chiari that is so rewarding to the eye in Aldo Tonti's often dazzling cinematography.

Many scenes, such as Christ's crucifixion, are shot and staged like tableaux in a style reminiscent of the great masters of art. And director Richard Fleischer surpasses anything Ridley Scott achieved years later in Gladiator: he fills the huge arena--a vast Roman amphitheatre--with a gladiatorial school of hand-to-hand combat, a parade of elephants, and a den of lions, and then caps his production with a riveting and thrillingly mounted duel between Jack Palance, careering round the circumference of the arena in his chariot, and Barabbas dodging him on foot. --Adrian Edwards

George C. Scott, Peter O'Toole, Ava Gardner, John Huston. A sweeping film realization of the first part of the Book of Genesis from the creation of Adam and Eve and the story of Noah's Ark to the destruction of the Tower of Babel and the tale of Abraham, Sarah and Isaac. 1966/color/172 min/G/widescreen.

John Huston adapted the first 22 chapters of the Book of Genesis in this mostly silly film that takes us from Creation through Noah's Ark through Abraham's near-sacrifice of son Isaac. This is one of Huston's more personally distant projects, à la Annie or Victory; and for the most part you'd barely know there was even a director involved. On the other hand, Huston does provide some of the only liveliness on screen, playing Noah. --Tom Keogh

At last, Martin Scorsese's most personal masterpiece can be seen outside of the controversy it engendered, and be seen for what it is: a l5-year labor of love. Nikos Kazantzakis' landmark novel comes to breathtaking life in this moving and spiritual film. The all-star cast includes Harvey Keitel, Barbara Hershey, Harry Dean Stanton, David Bowie, and Willem Dafoe as Jesus. Criterion is proud to present this cinematic treasure in an exclusive Director Approved special edition.

It isn't difficult to imagine why this 1988 retelling of the Crucifixion story was picketed vociferously upon release--this Jesus bears little resemblance to the classical Christ, who was not, upon careful review of the Gospels, ever reported to have had sex with Barbara Hershey. Heavily informed by Gnostic reinterpretations of the Passion, The Last Temptation of Christ (based rather strictly on Nikos Kazantzakis's novel of the same name) is surely worth seeing for the controversy and blasphemous content alone, but it's difficult to find in skittish chain video stores. But the "last temptation" of the title is nothing overtly naughty--rather, it's the seduction of the commonplace; the desire to forgo following a "calling" in exchange for domestic security. Willem Dafoe interprets Jesus as spacy, indecisive, and none too charismatic (though maybe that's just Dafoe himself), but his Sermon on the Mount is radiant with visionary fire; a bit less successful is method actor Harvey Keitel, who gives the internally conflicted Judas a noticeable Brooklyn accent, and doesn't bring much imagination to a role that demands a revisionist's approach. Despite director Martin Scorsese's penchant for stupid camera tricks, much of the desert footage is simply breathtaking, even on small screen. Ultimately, Last Temptation is not much more historically illuminating than Monty Python's Life of Brian, but hey, if it's authenticity you're after, try Gibbon's. --Miles Bethany

• Condition: New
• Format: DVD
• Closed-captioned; Color; Dolby; DVD; Letterboxed; Widescreen; NTSC

Gorgeously photographed, true-life story details the efforts of a Jesuit priest who takes a danger-filled journey to the Canadian wilderness during the winter of 1634 to convert a group of Indians. Lothaire Bluteau, Aden Young and Sandrine Holt star; directed by Bruce Beresford ("Driving Miss Daisy"). 101 min. Standard and Widescreen (Enhanced); Soundtrack: English Dolby Digital stereo Surround; Subtitles: French, Spanish; theatrical trailer.

Forget about Kevin Costner's sun-kissed, water-colored, Oscar-winning Dances with Wolves. Black Robe, which was directed by Bruce Beresford, a director who gave the world the finest film of the early '80s Australian new wave, Breaker Morant, and who continually collides cultures and ethnicity in his films (Mister Johnson, Driving Miss Daisy), matches and surpasses the Costner epic as an expertly crafted, brutal saga of redemption and salvation. In 1634 a young French Jesuit missionary is assigned to trek 1,500 miles through the New France wilderness to a mission settled in Huron Indian country. Black Robe chronicles the journey of Father Laforgue (Lothaire Blutheau) as he leaves his Jesuit brothers and, with the aid of a young translator and guide, Daniel (Aden Young), and eight canoes of Algonquin Indians, moves into the uncompromising Canadian northern territory on a die-hard mission to convert the natives. Mixing elements of Michael Mann's The Last of the Mohicans and Roland Joffé's The Mission, Beresford offers a restless tale of Laforgue's conflicted faith juxtaposed against the sublime spiritual harmony with the land that the Huron and Algonquin already hold. Black Robe dances to its own drummer and is tuned into the precarious balance between nature's mystery and spirit and the strident, unyielding religious ethic. The cinematography by Peter James is relentlessly cruel and bleak, but it absolutely conveys the obstacles that face the idealistic and blind young priest, who by the end, has faced his own awakening. The film also features one of the late, great composer Georges Delerue's most noble scores. --Paula Nechak

A dying prisoner s last confession serves as the cover for a plot to take Bishop Bilodeau hostage. Mastermind Simon has planned a special performance for the cleric: a reenactment of the days when they were schoolboy friends and when they were both in love with the same handsome boy.

The action moves back and forth seamlessly through time between the crude prison and the actual events of 1912, culminating in the tragic night when both men s fates were decided and their true love was lost forever.

A MEDIEVAL ITALIAN WASTREL BECOMES FRANCIS OF ASSISI, FOUNDER OF AN ORDER UNDER POPE INNOCENT III.

It seemed like a good idea in 1973: a musical scored by Donovan about the life and times of St. Francis of Assisi, the passionate ascetic who expressed love for God by loving nature. But the finished product was something else. Filmmaker Franco Zeffirelli (Endless Love) makes a decorous effort at communicating the ideals of Francis and even tweaking the character toward flower-power relevance. But the result is feel-good fluff, a boring movie that doesn't penetrate its subject as much as reinvent him toward a modern bias. Graham Faulkner is entirely forgettable in the lead, and Donovan's songs on this project aren't exactly first-rate, either. --Tom Keogh

An adaptation of the Biblical parable, this film version of David and Goliath stars Orson Welles as the brooding King Saul, whose grip on his kingdom is slippingeven at the height of his infamy. But the only way to oust him from the throne is if someone defeats Goliath.

109 minute feature film DVD starring Ian Hart, James Bolam and Julianne Moore.

"This is a diary of hate," pounds out novelist Maurice Bendrix (Ralph Fiennes) on his typewriter as he recounts the lost love of his life in this spiritual memoir (based on Graham Greene's novel) with a startling twist. It's London 1946, and Maurice runs into his achingly dull school friend Henry (Stephen Rea with a perpetually gloomy hangdog expression). Their meeting is brittle, all small talk and chilly, mannered civility beautifully captured by director-screenwriter Neil Jordan (The Crying Game), and it only barely thaws when Henry suggests that his wife, Sarah (the luminous Julianne Moore), may be having an affair. Maurice's mind reels back to his passionate affair with Sarah during the war years, which she abruptly broke off two years ago. Gripped with a jealousy that hasn't abated, he hires a private detective (a mousy, marvelous Ian Hart) to shadow her movements. He prepares himself for the revelation of a rival but instead finds a deeper, more profound secret: "I tempted fate," she writes in her diary, "and fate accepted."

Jordan's cool remove captures the unease beneath formal manners but never warms into intimacy during the scenes between the lovers, even while Fiennes and Moore almost explode in repressed emotions, their faces cracking under their masks of civility and their resolve shaking through jittery body language. There's more thought than feeling behind this collision of passion and spirituality, but it's a sincere, richly realized portrait of ennui and rage against God energized by brief moments of shattering drama. --Sean Axmaker