He is considered the most powerful actor to come out of Canada in years, with his emaciated good looks and his burning intensity, and he has recently received strong reviews for his stage work in London. In one of the crucial scenes in Jesus of Montreal, the battle-weary Father Leclerc tells Daniel that churchgoers don't want to be informed about what his research reveals about Jesus. (2016, Dec 18). Their avant-garde performance, which makes use of Mount Royal as an outdoor theatre, incorporates new archaeological evidence and biblical translations, and presents literal interpretations of many of Christ’s teachings. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. Arcand doesn't force the parallels, and his screenplay is not simply an updated paraphrase of the New Testament. Daniel rails against crass corporate culture like Christ among the money-changers, cultivates a sublime asceticism and ultimately transforms the material world through his struggle and suffering. This can be seen in a scene when a lawyer/agent tempts Daniel to risk his artistic strength in order to “possess the city,” and uses Ronald Reagan, as an example of Daniel’s prospects. Simon and Jesus Comparison in Lord of the Flies (6 Pages with Works Cited), Jesus the Christ: Fall 2016 Final Exam Study Guide, The Death and Resurrection of Jesus Christ, Jesus Rejected At Nazareth Theology Religion, Free online plagiarism checker with percentage. Jésus de Montréal is widely considered one of the best Canadian films ever made. The police arrive and shut down the drama, despite protests from the audience. Father Leclerc now orders the cast to return to the traditional Passion play script. Showing all 15 items Jump to: Certification; Sex & Nudity (7) Violence & Gore (5) Profanity (1 ... Daniel playing Jesus is seen with realistic looking whip marks and blood on his body and head.

By continuing we’ll assume you’re on board with our cookie policy. Many of the scenes have obvious parallels in the New Testament. By the end of the film we have arrived at a crucifixion scene that actually plays as drama, and not simply as something that has been forced into the script. It won two major prizes at the Cannes Film Festival and 12 Genie Awards, including best screenplay, director, actor and motion picture. One of the major themes in the film is the decrease in traditional and spiritual culture in Quebec, and the increase in consumer culture where relationships don’t hold enough self-gratification and where human beings, especially artists, are turned into a world of consumption. The New York Times called it “intelligent and audacious,” and Rolling Stone’s Peter Travers said it was “a sharply perceptive satire of modern Christianity.” The Guardian called it “thought-provoking and wickedly funny,” while Time Out deemed it a “delicious satire on contemporary mores… a witty, free-wheeling variation on the Gospel of St Mark [that] is never constrained by allegorical schematism and manages to make deft, original swipes at a plethora of modern 'evils': media hype, advertising, hospital bureaucracy, and of course the hypocrisy of the religious establishment.”. And yet certain similarities do appear, and Daniel (Lothaire Bluteau), the actor who plays Christ, discovers that his own life is taking on some of the aspects of Christ's. Discouraged by waning public interest, theatre-loving Father Leclerc (Gilles Pelletier) decides to commission a more engaging and modernized version of the Passion Play for his church’s annual production. Christopher Gittings, Canadian National Cinema (Routledge, 2001).

Best Achievement in Art Direction/Production Design (François Séguin), Best Achievement in Cinematography (Guy Dufaux), Best Achievement in Costume Design (Louise Jobin), Best Achievement in Film Editing (Isabelle Dedieu), Best Achievement in Overall Sound (Jocelyn Caron, Hans Peter Strobl, Adrian Croll, Patrick Rousseau), Best Achievement in Sound Editing (Diane Boucher, Marcel Pothier, Antoine Morin, Laurent Levy), Performance by an Actor in a Supporting Role (Rémy Girard), Performance by an Actor in a Leading Role (Lothaire Bluteau), Best Motion Picture (Roger Frappier, Pierre Gendron), Golden Reel Award (Roger Frappier, Pierre Gendron), Prize of the Ecumenical Jury, Cannes Film Festival (1989), International Critics’ Award, Toronto International Film Festival (1989), Top Foreign Films, National Board of Review, United States (1990), Golden Space Needle Award, Seattle International Film Festival (1990). McIntosh, A.,, & Golfman, N., Jésus de Montréal (Jesus of Montreal) (2017).

George Melnyk, One Hundred Years of Canadian Cinema (University of Toronto Press, 2004). Taking a cue from Jesus in the Temple, he smashes the television equipment and drives the advertising clients out of the theatre.

And they make the mistake of taking their material literally. The seed for the idea of Jésus de Montréal was planted during the making of Arcand’s previous film, Le déclin de l’empire américain.

Jesus de Montréal is a brilliantly witty allegory for a commercial age in which doubt is not merely conceived as an antithesis to faith; it is the permanent fact of our postmodern condition. Martin (Rémy Girard) is working as a voice actor for porn movies; Constance (Johanne-Marie Tremblay) is having an affair with Father Leclerc; Mireille (Catherine Wilkening) stars in commercials that use her scantily-clad body to sell cosmetics; and René (Robert Lepage) is an eccentric actor who is determined to shoehorn Hamlet’s soliloquy into the production. Hire a Professional to Get Your 100% Plagiarism Free Paper. Denys Arcand’s Jésus de Montréal is a provocative satire about an actor whose life increasingly comes to resemble that of Jesus during a production of the Passion Play.