"Golgotha" (film): reviews and reviews

The modern film industry is created by people, most of them consciously and fundamentally putting themselves outside of any framework of traditional faith in God. Elements of religion in the cinema are often represented in the form of accentuating attention to the other world or on the detachment of the Creator from the world of people. The ideology of cinema tries in every possible way to utilize the spiritual life by adopting the philosophical postulate "everything is in your hands". Therefore, one of the favorite motifs of many films are the profanation of sacred buildings, objects and inappropriate (from the point of view of people of religious) treatment of Scripture, its individual texts. And the heroes, who embody the traditional religiosity, sometimes act as negative or dubious characters. The priest / monk still occasionally appears in the hypostasis of a positive hero, but seems to be a helpless creature, and in the spiritual and earthly world. The exception is the film "Golgotha", reviews of which are extremely contradictory.

Important layer

A special, important layer in the perception of the modern viewer of religion are popular films, filmed specifically for biblical themes, including the Romanian drama of 1966 directed by Mircea Dragan. His "Golgotha" - a film, reviews of which are rare. And the picture itself is extremely low rating. The fact is that the plot is a retelling of classical history, organized linearly, without any special frills. Although the idea is so powerful emotionally and morally (it's a road-movie in a metaphysical and direct sense) that all 88 minutes of timing are in one breath.

The embodiment of one's own vision

Religion, of course, is one of the strongest sources of inspiration. Some filmmakers fix and transfer their internal contradictions to the screen, while others try to construct their own postulates, while others restrict themselves to embodying the personal vision of events known to all. This author is the French director Julien Duvivier, who presented the viewer in 1935 with the adventure drama "Golgotha". The film reviews from critics of that era received exceptionally laudatory ones. The plot is known: it narrates about the last days of Jesus. The director tried not to place emotional accents, but simply depicted a factual outline, which gave the picture a certain shade of documentary. This approach seems to be fully justified. The author was guided by a wide audience, did not insist on his rightness and did not sing hosannas in the film (which is very often found in films produced by Hollywood).

The pervasive sense of God-depravity

The film "Golgotha" (2013) of the joint production of Ireland and the UK is a real drama, although it was declared by the creators as a tragicomedy. This is the second directorial project of John Michael McDon, after having a stunning success debut - "Once Upon a Time in Ireland". John in a creative alliance with his older brother Martin McDonagh ("The Seven Psychopaths", "Lie to the bottom in Bruges") filmed an interesting film about the main character (played by Brendan Gleason), who embodied virtue in his person, and the inhabitants of the Irish village who Represented his categorical opposition.

Irish roots

The film "Golgotha" critics' reviews deserved diametrically opposite, which was to be expected, because the topic is rather piquant. But many experts noted the Irish roots of the picture, which brightly and expressively manifested in the creativity of the director. With characteristic national frankness, the author argues that behind theistic religiosity remains the right to be not only a way of life, but also its meaning. The film "Golgotha" was called by some viewers as a true guide to the shores and streets of the northern island and a living acquaintance with the images and characters characteristic of Ireland, keeping the specifics of manners, views on life, language, but in the world community.

Plot

A new week begins awkwardly for the priest James, who serves in the village church in a remote corner of Ireland. During confession one parishioner promises to kill him on the next Sunday. The potential killer remains unrecognized, although Father's voice seems very familiar to James. Further, the film "Golgotha" acquires a touch of detective genre. The priest can not apply to the police, since he must keep the secret of confession, so he begins to conduct his own investigation, for which he goes to all his townspeople in turn in search of a lost soul.

Seven days of purification

"Calvary" - a film, reviews of which unanimously mark the originality of the story's origins. This gave the director a brilliant chance to present to the audience a true panoptic of strange, amazing, charismatic and eccentric, simultaneously recognizable types of people. Lost in trying to determine the identity of his future murderer, the priest carefully looks at the inhabitants of the village, which he thought he knew as flaky, and understands that the wormhole is in everyone without exception. And seven days of trial of another's sins become for Father James seven days of purification.

Paradox

Paradoxically, most reviews of the painting claim that it is not religious at all, rather, it is, on the contrary, extremely down-to-earth, thanks to a fantastic cast. To admire Gleason's skill can be endlessly long. The first episode in the confessional is magnificent. Filmed close-up, without editing, it demonstrates a wide range of actors, an endless kaleidoscope of alternating emotions. So just for the sake of this scene, the film is worth a look. But Father James is the tip of the iceberg. "Underwater" are no less bright, even if offended by fate, an auto mechanic, periodically beating his mistress, a cynical doctor, a wonderful writer, fixated on the topic of death, two maniacs - a future and self-realized, corrupt and corrupt inspector. Each character is played so that his image deserves a separate film. It is not easy to bring such a flock to God, even to such a strong person as the shepherd James. In addition to the inimitable play of the actors, the essence of the director's idea is also impressive, and the main rhetorical device: from the maximum sense of full-bodied devotion, a physically palpable divine presence emerges.

Golgotha in Russian

For the first time the documentary project "Russian Golgotha" - the film of Felix Razumovsky, was presented to the audience at the international festival of Orthodox media under the spoken name "Faith and the Word", which was held in 2014 in the Moscow region. As a result of his work, the winners in some nominations were traditionally identified and named. Among them was a series of paintings by the outstanding Russian historian F. Razumovsky, who in each of the 12 episodes told a story about the exploits of the new twentieth century. The project "Russian Golgotha" (film 1) began with a kind of introduction to the whole cycle of subsequent programs devoted to persecution and persecution of the Bolshevik power of the Church of Christ, its ministers and faith.

For Golgotha - Resurrection

There is another masterpiece with the same name - a picture of the director and at the same time a true patriot of the Fatherland, Victor Yegorovich Ryzhko. His "Russian Calvary" - a film, the orthodoxy about which to leave was not in a hurry, unlike patriotic citizens. This documentary and artistic film tells of the tragic fate of the last emperor of Russia. Work on the film required the creators of huge expenditure of effort, courage and dedication. The work contained a small fraction of the vast number of sources studied, savings and archives, a revised old newsreel. In two hours of timekeeping the creators managed to contain the quarter-century reign of Nicholas II - a tense, complex, rapid and conflict episode of Russian history. Thanks to this whole worldview approach, the viewer opens up the true meaning, cause-effect relations and the logic of the history of the gloomy beginning of the twentieth century. In the film, two storylines develop in parallel: the most important episodes of the reign of Nicholas II and the ministry and death of Christ. Such a daring comparison is the key to the writer's plan (he is also a director).