He is passionate and deeply moved, almost as much as Scorsese is. That is something he is always capable of, so his immaculate leading role in The Last Temptation of Christ should be no surprise. His performance is marvellous, and he portrays the Son of God with a genuine conviction. The Last Temptation of Christ offers this opportunity not just to Scorsese but to his incredible ensemble, particularly David Bowie and Harry Dean Stanton, who provide backbreaking supporting performances.ĭafoe is the most inspiring, though. He managed it with Raging Bull as he fought the inner demons, but now he looks for a more literal expression. He seems to be at a point in his career, here, where he is looking for his own personal salvation. Scorsese is unflinching and brutal, which is a rather sudden surprise considering that, after this, his collaboration on New York Stories was considerably light. With Willem Dafoe as the titular Christ and Harvey Keitel as the betrayer, Judas Iscariot, there is much range for them to toy with. His growth as a director can be seen here, and as his maturity sparks, so too does his adaptation of Christ and his final days among the people of Jerusalem.
He depicts an ancient story with pangs of modernity, both in soundtrack and style. So much of The Bible and its message is open to complete interpretation, and Scorsese uses this to his advantage.
Taking inspiration from both the Gospel and Nikos Kazantzakis’ book of the same name, The Last Temptation of Christ offers director Martin Scorsese to channel his unflinching, unguarded beliefs and passions into a piece depicting the death of Jesus Christ.
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