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The Gospel According to St. Matthew [Import]

3.6 out of 5 stars 17 customer reviews

Price: CDN$ 58.73
Only 1 left in stock - order soon.
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Product Details

  • Actors: Enrique Irazoqui, Margherita Caruso, Susanna Pasolini, Marcello Morante, Mario Socrate
  • Directors: Pier Paolo Pasolini
  • Writers: Pier Paolo Pasolini
  • Producers: Alfredo Bini
  • Format: Black & White, Color, NTSC, Subtitled, Full Screen, Import
  • Language: Italian
  • Subtitles: English
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • MPAA Rating: NR
  • Studio: Legend
  • Release Date: March 27 2007
  • Run Time: 137 minutes
  • Average Customer Review: 3.6 out of 5 stars 17 customer reviews
  • ASIN: B000LP5D5G
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Customer Reviews

Top Customer Reviews

Format: DVD
One hardly knows where to begin when discussing The Gospel According to Saint Matthew. Aside from the religious aspects of the film, you have to talk about Pasolini's techniques and motivations. While I didn't like certain aspects of the film, I certainly can't deny the fact that, as a Christian, this film moved me in a very powerful way. What makes this so amazing is the fact that Pasolini is both a Marxist and an atheist (basically the anti-me). I would go so far as to speculate that The Gospel According to Saint Matthew is both Marxist and anti-Catholic in terms of Pasolini's motives. The Jesus in this film is definitely the poor man's Jesus who would seem to represent the Italian peasantry which Pasolini held in such high regard.

I can't say I'm in love with Pasolini's filmmaking technique. The opening scenes of the film play like a silent film, with words few and far between. Pasolini tells most of the early story through the faces of his characters (and I should mention that he depended heavily on regular people rather than actors in the cast - his mother, for example, plays Mary). Pasolini is absolutely in love with pans and close-ups. On occasion, the camera starts moving one way, then suddenly zigs and zooms in an entirely different direction - this, to me, is sloppy technique; either the cameraman started going the wrong way or else he decided on the spur of the moment to capture something entirely different than what was planned. Once Jesus begins his ministry, the dialogue takes hold of the story, but the cinematography is always a prominent part of the presentation. All of the panning yields blurred background images, for example.
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Format: DVD
This is one of the most astonishing films I have seen: probing, complex, lyrical, and at times emotionally overwhelming. NOTE: Do not blame WaterBearer for the poor-quality DVD; the Pasolini Foundation, which controls the film, provided the print and also vetoed chapters to encourage viewers to watch it only in its entirety. The overly edge-enhanced image is improved by turning your TV's sharpness setting to its 'blurriest.'
Can you imagine a less likely candidate to make what, after 40 years, may still be the greatest and most moving film about Jesus Christ? Pasolini was not only a gay Marxist but a devout atheist. His fascination with Jesus may have connected with his most personal theme, that of the outsider (with his artistic, political and sexual nature, he saw himself as the consummate outsider). Although one of Italy's leading intellectuals, he also moved among the laborers, indigents, and hustlers (some of whom were his lovers, not to mention the inspiration for his early poetry and novels), whose counterparts two millennia earlier had walked with Jesus.
Jesus's story also let Pasolini explore the complexities of real-world politics even while recreating an ancient culture with astonishing immediacy. He also relished the opportunity to play with a vast, and eclectic, artistic tradition, from Jean-Luc Godard's striking documentary style in "the two trials of Christ.... to painting... Piero della Francesca (in the Pharisees' clothes), Byzantine art, Christ's face like a Rouault, etc."
We also see El Greco not only in some compositions but in the intriguing casting of Enrique Irazoqui, a Catalan economics student, as Jesus. Pasolini had also considered such young, subversive literary lions as Jack Kerouac and Yevgeny Yevtushenko.
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By A Customer on Aug. 4 2003
Format: DVD
Pasolini's "The Gospel According to St. Matthew" is one of the great Italian director's most accessable films. It is also one of the few films about the life of Christ that looks and feels as if it was filmed during the time that Christ lived - this is no Hollywood production - this feels like the real thing (the one star is not for this 5 star film.)
However I want to warn potential purchasers that this Water Bearer version is a high priced non-anamorphic, poor quality print (although it claims to be digitally remastered), it has burned in subtitles with no chapter stops. I had thought DVD production and quality had improved greatly in the last couple of years, this is an unfortunate (1 star) exception. If you want to see another great Pasolini film with a great anamorphic almost pristine transfer I would direct you to MGM's version of his "The Decameron".
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Format: DVD Verified Purchase
There have been several excellent reviews on this DVD that rightly praise the authenticity, simplicity, and spiritual qualities of Pasolini's masterpiece . Its detractors, who are generally happy with its content, direct their criticism mainly to its technical limitations such as poor subtitles, an imperfect transfer, or the irritations of dubbing. It is unfortunate that these comments seem to apply to several entirely different versions, even including a VHS copy. It is unhelpful and misleading of Amazon to lump all these products together. I want to begin by dealing firstly with this issue. The DVD I purchased is credited to Legend Films. It holds an 'extended' version of the original black-and-white copy, the quality of which is very satisfactory; there is no difficulty whatever in reading the subtitles. A coloured version dubbed in 'English' -- actually 'American' -- is also included. A written biography of Pasolini and his Filmography comprises the Extras. There is no booklet. The two versions provide very different experiences and deserve to be critiqued independently.

The original is the most spiritually and artistically moving of the many religious films I have seen in my 65 years as a cinemaphile. This accomplishment is the outcome of many attributes: authenticity, simplicity, a feeling of utter truthfulness in the telling of the story, and the spare economy with which it is told. This is the movie that one would have expected that arch-Catholic master of the cinema, Robert Bresson, to make, and the manner of its making uncannily follows his precepts to the letter: strict use of non-professional actors; keeping dialogue to a minimum; and allowing the story to unfold through expressions, gestures and actions of the participants rather than through their words.
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