‘Recut’ helps viewers

Breeze Perspectives

In what I hope can become a Lenten tradition, my brother and I were able to see Mel Gibson’s "The Passion of the Christ" in theaters once again on March 11. This stirring film has been re-released in a new edited version that removes some of the most graphic depictions of Christ’s suffering found in the original. This editing was an improvement to the film, and it will allow the work to reach an even greater audience than was possible previously.

For those concerned about "The Passion Recut," none of these essential elements of the passion narratives have been eliminated. In fact, only six minutes have been removed. The majority of this editing occurred in an especially brutal depiction of Christ’s scourging that many will remember from the original. This scene now consists of fewer minutes watching the actual whipping — which many historians thought was excessive, even for Roman standards — and more on the reactions of the crowd.

Further changes were made in the scene of Christ’s crucifixion. Though still visible, the nailing of Christ’s hands to the cross is dwelt upon less. A scene from the original in which a nail was driven through the Lord’s hand was also taken out completely.

At this point, some may object that any softening of this film’s content will inevitably lessen the film’s benefits. This is not the case for several reasons. First, the revisions found in "The Passion Recut" are in no way excessive and in no way are they frivolous changes. Gibson’s editing is so thoughtfully undertaken, with so little change to the original that if someone was not forewarned that they were viewing an edited version, they very well might not even notice any changes at all.

Secondly, to fixate on the physical pain experienced by the Lord, though entirely necessary, is not the chief end of sincere meditation on His passion. Those whose appreciation of the passion ends here are like the crowd of women who wept for Christ as they followed Him to Calvary. Instead of being praised for this show of sympathy, they are instead given this rebuke: "Daughters of Jerusalem, weep not for me, but weep for yourselves and for your children" (Luke 23:28). To rightly apprehend the spiritual meaning of Christ’s suffering, then one must move beyond his physical pain, and mourn the penalty of sin, sin that brought such pain about. The realization of this truth is in no way limited by Gibson’s revisions. By allowing viewers to appreciate the film with less visceral reactions to its scenes, it may actually be enhanced.

With his "Recut" version of "The Passion," Gibson sought to create a gift for all people that were unable to bear the gory original. He has succeeded in this endeavor by preserving the spiritual sense of the first version, while softening its content. His film stands with such masterpieces as J.S. Bach’s "Saint Matthew Passion" as the latest in a long line of passion accounts.

Andrew Chudy is a senior IDLS major.