THE PILGRIMAGE PLAY
US, 1949, 90 minutes, Colour.
Nelson Leigh, Stephen Chase, Leonard Penn, Richard Hale, Tudor Owen.
Directed by Frank R. Strayer.
There was something of a breakthrough in screen presentations of Jesus in The Pilgrimage Play in 1949. It was directed in Hollywood by studio director, Frank R. Strayer who, in the late 1930s and early 1940s made twelve Blondie films. However, The Pilgrimage Play was not a studio production and it did not receive mainstream release. It was a filmed play of the life of Jesus but what made it different was that Nelson Leigh played Jesus fully on screen rather than a voice offscreen or the visuals being limited to a hand or an arm as in the biblical films of the 1950s. And it was made in colour.
Leigh’s Jesus is suitably serious, smiles slightly sometimes but is played in the grand manner of the superior rabbi rather than in any more personalised way. The framework of the film is having Peter in prison recounting the life of Jesus before he himself is executed. The scenes are more like tableau than action and the screenplay consists of large chunks of the Gospels recited in a solemn way as if this is how Jesus spoke all the time. This image of Jesus would have corresponded to the devout theological perspectives of the period, an emphasis on the way that the divine influenced the human in Jesus. Another factor for those who saw the film when it was made is that this was the first talking Jesus in colour. There was no precedent and it was just over twenty years since Cecil B. DeMille’s? The King of Kings with its Jesus in silent film mode.
Audiences on the lookout for interesting differences in Jesus films will notice the strong emphasis given to the role and influence of Nicodemus, especially at Jesus’ trial. Another feature of Jesus’ trial is the calling of Judas as a witness but his being excluded by Nicodemus quoting the law that someone who betrays another cannot give testimony.
The film has a great deal of Jesus’ teaching, some miracles, a Da Vinci-like Last Supper and some grim moments of the passion (though, of course, everything pales in the retrospect of The Passion of the Christ).
1.The impact of the film in its time? No precedents for a full-on talking Jesus? The patterns of the silent era? The films with Jesus off-screen, voice only or part of limbs only? The film in retrospect?
2.The film as a filmed play? The staginess of the settings, the tableau effect, the limitations of action?
3.The emphasis on dialogue, large parts of the Gospel as dialogue? The effectiveness of Jesus’ message? The difficulties with dramatic communication?
4.The framework with Peter in prison, talking to his fellow prisoners? The returning to the prison scenes? Peter about to die?
5.Nelson Leigh as Jesus, his physical stature, appearance, hair and beard, facial expressions, the touches of a smile? His white robe? Devout, traditional? The picture of the disciples?
6.The scenes of Jesus’ ministry, his preaching? The choosing of the apostles? The healings? The confrontations with the religious leaders? The personality of the apostles, especially Peter?
7.Judas Iscariot, his going to the chief priests, the betrayal of Jesus, the discussions about the thirty pieces of silver? The betrayal, the garden? His being called as a witness at the trial? Nicodemus prohibiting it? His going to the chief priests, throwing the coins at them? Peter describing his hanging himself?
8.The chief priests, the antagonism towards Jesus? The trials? The demand that Jesus declare himself? The blasphemy? Taking him to Pilate?
9.The role of Nicodemus, his going to Jesus, listening to him? His position at the trial, his interventions, the criticism of the chief priest? His quoting the law to forbid Judas testifying?
10.Pilate, his command, the judgment of Jesus, the scourging of Jesus, his washing his hands?
11.The Last Supper – and the traditional presentation?
12.The Way of the Cross? The brevity of the crucifixion sequences?
13.An attempt in the 1940s to use the film medium to communicate the Gospel and the person of Jesus?
