The Messiah 1975 123movies

Watch: Il Messia 1975 123movies, Full Movie Online – The story of the life of Jesus Christ..
Plot: Rossellini takes numerous liberties with the original source material, rearranging and omitting events at will, presenting everything in a highly undramatic fashion. The film begins in the time of the Old Testament, allowing Rossellini to present the story of Jesus in its ancient, historic context.
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Ratings:

	6.7/10 Votes: 344
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	N/A Votes: 15 Popularity: 1.813 | TMDB

Reviews:

THE MESSIAH (Roberto Rossellini, 1975) ***
Dubbed “the most Catholic of all film directors” by one critic, I guess it was only a matter of time before Roberto Rossellini tackled the life of Christ on celluloid. Ironically, this he did in what proved to be his last feature film which was, in itself, a follow-up to his TV mini-series ACTS OF THE APOSTLES (1969). That earlier work was interesting for treating little-known passages from the New Testament but, with an unhurried pace and a generally unassuming tone, the end result was decidedly meandering. Conversely, THE MESSIAH presents all-too-familiar events – with the overall effect feeling lengthy still, yet distinctly more cinematic. That said, it starts off with the arrival of the Jews in the Promised Land and the appointment of their first king (Saul) before moving on to the life of Christ; actually, this is also one of the few films to show the famous incident in which Jesus is lost in the temple as a boy. Unsurprisingly, it doesn’t stray much from the spirit – or word – of the Gospels: even so, in the throes of an agonizing death, Herod The Great (played by Vittorio Caprioli – though his trademark flustered demeanor is downplayed by having his voice dubbed) is seen planning the annihilation of his own subjects akin to the practice of ancient Egyptian rulers!

Incidentally, the rich and commanding voice of Christ himself is supplied by Enrico Maria Salerno – a superb actor in his own right who had actually already handled the very same task in THE GOSPEL ACCORDING TO ST. MATTHEW (1964) – which is effectively contrasted with the inconspicuous appearance of the young man who appears in the role (perhaps best approximating the Lothaire Bluteau of Jesus OF MONTREAL [1989]). This Messiah, then, is far removed from the striking good-looks of Jeffrey Hunter (KING OF KINGS [1961]) and Robert Powell (the Jesus OF NAZARETH [1977] TV mini-series) or the brooding power of Max von Sydow (THE GREATEST STORY EVER TOLD [1965]) and Willem Dafoe (THE LAST TEMPTATION OF Christ [1988])! Naturally, the bulk of the narrative is devoted to Christ’s public life – though no overdue emphasis is placed on the miracles he performed (these are mentioned but rarely seen) – which also provides the film with its essential core…since the latter section, revolving around the more commonly-depicted events of Jesus’ trial (where Jean Martin, the French Colonel in THE BATTLE OF ALGIERS [1966], nonetheless makes for a fine Pontius Pilate), crucifixion and eventual resurrection are curiously skimped here!

The subplot involving John The Baptist, however, is quite nicely handled; by the way, the only other recognizable face in the cast is that of Tina Aumont (even if her contribution amounts to no more than a few minutes of screen-time!) as the adulteress Christ famously pardons by denouncing her pursuers instead. The score is, once again, by Mario Nascimbene – though it’s not as prominent as his work on ACTS OF THE APOSTLES. On the visual side, the film seems closest to the contemporaneous Jesus OF NAZARETH – yet the lyrical style and quiet dignity on display makes of THE MESSIAH a more than worthy companion piece to Pier Paolo Pasolini’s aforementioned (and more renowned) THE GOSPEL ACCORDING TO ST. MATTHEW. With this in mind, while perhaps not the definitive film on the subject, it certainly emerges as an underrated achievement – both among the myriad treatments (including those by such great directors as D. W. Griffith, Carl Theodor Dreyer, Cecil B. DeMille and Abel Gance) of Christ’s life over the years and in Rossellini’s own highly respected canon.

Rossellini in precise way
It is a Rossellini. You feel it scene by scene. Different by other Jesus portraits, it represents the honest – precise portrait of great teacher. The words are fruit of work of hands. The message is simple and the sacrifice propose a special form of reddemption.

Sure, at the first sight, after the gallery of portraits of historical personalities, the temptation is to believe than Messiah is just a piece from the chain.

Obvious, it is more. The portrait of Saint Mary, the solutions for Passion and Resurrection or for the grave of Lazarus, the silence and calm respired by the film, the mathematical demonstration of the presence of Jesus, the eliptic speech about Him , the status of hakawati of the Savior , the reference to Pietta by Michelangelo are just proves of this.

Provocative in personal way.

Dialogue with the viewer.

Far by blockbusters about same theme.

Wise perspective about The Savior .

Not impressive. Useful is enough.

So, a form of last word of a great director.

Other Information:

Original Language it
Runtime 2 hr 20 min (140 min)
Budget 0
Revenue 0
Status Released
Rated N/A
Genre Biography, History
Director Roberto Rossellini
Writer Silvia D’Amico Bendicò, Jean Gruault, Roberto Rossellini
Actors Pier Maria Rossi, Mita Ungaro, Carlos de Carvalho
Country Italy, France
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio N/A
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format 35 mm
Cinematographic Process N/A
Printed Film Format 35 mm