A Review of Kevin
Costner Presents The First Christmas by Nick Olszyk
Distribution Service: Video on Demand
MPAA Rating, Not rated at the time of this review
OSV Rating, Not rated at the time of this review
Reel Rating, Two and Half Reels
When
Catherine Harwicke’s The Nativity Story was released in 2006, it was a
major event. Spurred by the unexpected success of The Passion of the Christ
two years prior, major studios were willing to return to Biblical epics
including the first feature length film about the birth of Jesus. In this age
of independent media, however, there seems to be a Nativity movie every
December including The
Star, Journey
to Bethlehem, and last year’s Mary.
Now we have the Waterworld action star Kevin Costner himself hosting the The
First Christmas, a docudrama which tries to put “Christ back in Christmas”
with a more “historical” approach.
Kevin
Costner begins by recounting his early childhood memories of Christmas and
desire to return to the original story. He does this by carrying a torch
through a desolate stage cave meant to mimic the one possibly used for the
birth of Jesus rather than a midwestern barn (Eastern Catholics would already
be well familiar with this concept). The production then alternates between the
Christmas story, starting with Mary and Joseph’s betrothal through the coming
of the Magi after the flight to Egypt, with various talking heads including an
academic scholar, several non-denominational pastors, one Indian philosopher,
and even a Catholic priest from some random parish.
The first
major focus of the production involves Mary and Joseph. Director David
Cunningham wanted to see “what it would have been like to actually be” these
famous figures. They are both young (around sixteen), poor, and hopelessly in
love. They weren’t just “babysitters but a loving couple” who laugh, play
pranks, worry about finances, and plan for the future. While not explicitly
stated, it is heavily implied their intention was to live a normal martial life
with a large family of biological children. This goes against an ancient
tradition that Joseph was older, perhaps a widower, who was more of a protector
rather than equal spouse. As stated earlier in the film, this interpretation
comes from the historical fact that people of the time married earlier and had
more children. Yet early Church tradition is also historical fact and more
specific to this individual couple. Even so, these young actors (Gia Patel and
Ethan Thorne) do an amazing job, and their devotion amidst great trial is
palpable.
While
hitting all the major points of the nativity, First Christmas spends the
most time on King Herod (Anthony Barclay), going to great lengths to display
his evil, graphically depicting the murders of his son and wife. While not
recorded outside the Bible, the massacre of the Holy Innocents is certainly in
line with historical accounts of Herod’s character. He’s not only evil but
gradually goes mad, maybe even possessed by demons. Its potent reminder of an
all too familiar pattern of world leaders willing to disregard innocent human
life to cling to power and children bearing the brunt of the world’s treachery.
While there
are many intriguing insights of historical note, the production itself often
comes off as flat. One odd point is that it rains in nearly every other scene,
maybe to add a note of despondency or desperation to poor Mary and Joseph’s
situation. The interviews give mildly nice reflections but nothing that stood
out as especially profound. While it feels Protestant in tone, the filmmakers
work hard to avoid any theological controversary. As such, The First
Christmas fits nicely in the genre of hallmark style cinema that gives
comfort and light entertainment on a cold evening but isn’t the sort that adds
much the scope of Biblical cinema. It’s better than the Netflix yule log but
unfortunately the advent of a great Nativity feature is still yet to come.
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