Silent treatment The Moreaus (first names Gina and Gabriel) must have been regarded as reasonably competent since they were given the chance to reprise their respective roles in another Pathé release, 1914’s “La Passion.” Material from that project was, in turn, incorporated into “Behold the Man” (1921). So Madame Moreau may win on the score of the most frequent depiction of the Blessed Mother by a screen actress as well as the earliest. Mary also featured in D. W. Griffith’s 1916 extravaganza “Intolerance” as well as in such early Biblical epics as 1925’s “BenHur: A Tale of the Christ” and “The King of Kings” (1927). The enduring popularity of Scripture-inspired movies is demonstrated by the fact that both of the latter two films were remade decades later, the former without its subtitle in 1959; the latter, minus its definite article, two years later. Thereafter, Hollywood’s interest in biblical subjects waned. Perhaps that’s why director and co-writer Franco Zeffirelli’s 1977 masterpiece “Jesus of Nazareth” took the form of a six-hour television miniseries. Amid a blockbuster cast, Olivia Hussey — the memorable heroine of Zeffirelli’s “Romeo and Juliet” (1968) — took on the role of the Blessed Mother. She brought to it a luminous spirituality and vulnerability as well as an aura of humility in the face of mysterious events that contributed signally to the success of what arguably remains the best screen treatment of the Savior’s life as a whole ever made. Mother and Son In 2004’s “The Passion of the Christ,” produced, directed, and co-written by Mel Gibson, Romanian actress Maia Morgenstern was cast as Mary. Gibson’s script, penned with Benedict Fitzgerald, emphasizes the close relationship between mother and son, typified by a scene in which Morgenstern’s character intuits Jesus’ presence in an underground cell and kneels to be near him. Their credible, very human interaction is balanced by Mary’s supernatural awareness that her Son’s suffering and death are foreordained. In perhaps the harrowing drama’s most striking piece of dialogue, Jesus, having fallen under the weight of the Cross, paraphrases to an emotionally agonized Mary words from the Book of Revelation: “See, Mother, I make all things new.” Two years after Gibson’s film, “The Nativity Story” concentrated on the beginning rather than the end of the Redeemer’s time on earth. Yet, as written by Mike Rich and helmed by Catherine Hardwicke, the film does nothing to downplay the dangers and perplexities that confronted Mary — played by Australian-born Keisha Castle-Hughes — before, but especially after, the miraculous conception of her Son, Jesus. Castle-Hughes adopted an interesting approach in depicting Mary. Her Virgin is not only sensitive but, to start off with at least, reserved and subdued almost to the point of sullenness. Once Joseph is enlightened by his dream, however, the two — initially paired in an arranged marriage at the news of which Mary was none too pleased — begin to bond and her manner becomes noticeably more cheerful, though she remains serious throughout. Alissa Jung took the title role in 2013’s “Mary of Nazareth.” From a lighthearted child, Mary becomes a parent united by a mystical bond to her unique offspring. Consequently, when the time comes for His sacrificial suffering and death, she participates to the full in His afflictions. More recently, the story of Jesus has again been brought to the small screen via the popular series “The Chosen,” available on Amazon Prime. To judge by one of the episodes in which she figures most prominently, titled “The Wedding Gift,” Vanessa Benavente’s Virgin is emotionally vibrant but also charitable in small practical ways —as well as in such weightier matters as the shortfall of wine at Cana. No matter the film, one thing is for certain: screenwriters and actresses of the future, like those of the past, will likely find the possibilities of portraying the Virgin Mary both inviting—and daunting. Formerly a staff member for Catholic News Service, John Mulderig has been reviewing visual media from a Catholic perspective for 15 years. His column is currently syndicated by Catholic Review Media. He will join the new OSV News wire service in January. The Annunciation from the 1903 French silent film, “La Vie et la Passion de Jésus Christ.” Marian Helper • Winter 2022-23 • Marian.org 29 Olivia Hussey in 1977’s “Jesus of Nazareth.”
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