.jfif)
A Review of Martin
Scorsese Presents the Saints: Mary by Nick Olszyk
Distribution Service: Fox Nation
FCC Rating, Not rated at the time of this review
OSV Rating, Not rated at the time of this review
Reel Rating, Two Reels
Martin
Scorsese is not only one of the greatest film directors in history but also has
a clear affinity for complex and profound spiritual narratives, which makes him
easy to love for a faith-based reviewer like myself (though his best film Hugo
was light on explicit religiosity and body count). However, he also tends to
hold his religious subjects just out of reach, keeping them at a safe distance.
His recent episode on Mary for The Saints represents this well, an
informative and competent production that gives a veneer of faith but without a
command to trust in her prayers.
The
production fits a great deal of Mary’s life into only forty-five minutes,
beginning with the Betrothal to Joseph and working its way through the
Nativity, the Wise Men, the Wedding Feast at Cana, Jesus’ ministry, and finally
the Assumption. It is narrated by Scorsese himself. He draws on his experience
growing up in New York City among Italian immigrants. Mary was everywhere. He
points out that many people find her more accessible as a human being whereas
her Son was God, but this is indeed the point of Mary: to bring people to her Son.
By starting before Christ and ending after him, he also demonstrates that Mary
is the chief witness to Jesus, the only one who was there right from the
beginning until the very end, faithful and devout the entire time.
There are
small moments that represent that great “Scorsese flair” and make the story far
more dynamic. The betrothal of Mary and Joseph is done in long contentious take
that goes backward and forwards. When Mary is assumed into Heaven, the camera
stays on her face from above, while the background falls away like an elevator.
My favorite is the transition from the flight to Egypt to the start of Jesus’
public ministry where the frame stays on her eyes which dissolves from young to
old, then zooms out to show Mary in her 50s with her fully grown Son. Yet most
scenes are unremarkable, just people sitting and talking while Scorsese
comments in the pauses. The life of Jesus usually happens offstage with Mary
experiencing the aftermath. The audience doesn’t see the Passion at all, only
Mary holding Jesus after being taken down from the cross. This is fitting,
however, as Mary is the subject and her role is always supportive.
Scorsese clearly
has the highest respect for Mary and her role in the life of Jesus, but he is
willing to challenge pious ideas of Mary to highlight her suffering and
humanity. For example, it is a long standing tradition that Mary felt no pain
in childbirth yet here Mary cries out in anguish common to ordinary women. More
problematic is a throwaway line in her conversation with Joseph where she says,
“I know I am not without sin, but not THIS [Jesus’ conception].” The catechism
clearly states
“Mary remained free of every personal sin her whole life long (CCC 493). Yet, The
Saints also embraces other extrabiblical traditions. There’s a beautiful
scene where Mary, tired and alone after the Passion, suddenly sees her
resurrected Son, though framed in a way that might not be literal.
Scorsese is
now in his mid-eighties but shows no sign of slowing down, being nominated for
a Best Director Oscar twice in the last seven years. He has also shown a more
gentile attitude towards religion, even approaching sincere faith. I personally
attribute this to the care has given his wife Helen, who suffers greatly from
Parkinson’s Disease. His sacrificial love for her, helping her with even the
most basic tasks like eating or dressing, really comes across in the Apple+
series Mr. Scorsese. My great hope is that when the end of his life
comes, as it must for all of us, he will seek Mary’s prayers and be with her
and all the saints forever.
Comments
Post a Comment