That should be “A people called ‘Romanes’…” like gobear said. Stupid online transcript got it wrong.
I think I just gave myself bad dreams for a week.
I think it’s pretty clear that, for all the use of Latin and Aramaic, this isn’t meant to be an historical movie. Besides the use of church Latin ,and the palm thing, all the people are clearly white (not an Middle Eastern-looking one in the bunch).
the nails through the palms could work if his arms are tied to the crossbeam, but unless they have such a support- yeah, the nails would just rip through the palms. The wrists theory really came into vogue tho with the publicity around the Shroud.
Meh. Am I the only person who didn’t feel honoured and excited to be witnessing a small part of a, gasp, yes, that’s it, in scroll-type writing, a Mel Gibson Film!
When I get the preveiw to load, I’ll let you know about that, Cat Fight. I’m kind of leaning that way myself. After Braveheart I’ve been sort of leary about good old Mel.
I wish I’d only gotten sound.
:eek: Uh, that was disgusting! I nearly launched my lunch over that trailer.
I hate when the trailer gives away the ending.
What?
ROTFLMAO.
I’m a little disappointed that Gibson changed his mind about having subtitles.
Wouldn’t Pilate have spoken Greek with his snooty Roman friends? Wasn’t Greek the language of the Roman upper class? I think a loooooong time ago, while I was still in what we called “collich,” one of my professors said that Caesar’s last words were not et tu Brute but something like kai su naison, and you my son?
Stretching my little mind back a bit more, I think that the transition to some of the sounds of modern Italian had already started at the time of Christ - Marius may have been pronounced, by the common people anyway, more like Mario. So Gibson’s use of church Latin (which I always thought was the Italian pronunciation anyway) might (please note the might) not be too far off. Besides, does Mad Max know Latin, or does he just know it from memorizing the Pater Noster?
Does the ship sink in the end?
An Asterroid with Bruce Willis on it blow up?
Does Tara burn?
Does Jesus say to Oswald, " I not like other women?"
Don’t keep us in suspense!
Tell US!
I’m not sure about the language of the upper class, but koine Greek was definitely the common tongue of the Eastern Empire, since after the conquest of Alexander the Great, that area of the world was under the rule of the (Greek) Ptolemies.
And Julius Caesar’s last words, according to Suetonius (I think), were: “kai su, teknon?” (And you, child?)
I’m sad there’s going to be subtitles. I was goingto see how much I could catch without. I was hoping this dang Classics degree would be good for something… 
Yes, several of us are excited about the film.
Yes, Mel Gibson is producing it.
No, some of us are not flocking to it just because it is a Mel Gibson film.
I, personally, am pleased that it is a Mel Gibson film simply because I think he treats his historical characters (fictional or otherwise) with dignity and honor, something I would not expect from, say, Roman Polanski.
Some of us are intrigued with the fact that an American is making a movie that is in an ancient language and enjoy the nuances of that language.
To say that this film is a departure from the Hollywood norm is a given. That is what some of us are excited about.
We are simply dicussing a film, not gushing about Mel Gibson.
If you have no interest in the film or its content, why did you bother to post?
I’m very happy about that. Why are you disapointed? You’ll still be able to hear the language only nwo you’ll understand what the people are saying.
Hmmmm…I’m actually rather intrigued now. Especially that Gibson isn’t playing Jesus. I never knew too much of the film, but that was always one thing I figured would be the case seeing as “Mel Gibson’s making a movie about Jesus.”
It looks rather realistic and graphic, but only being about the Crusifixtion of Christ, I’m curious as to what kind of point he’s going to make with the film. It may not be anything besides “Look at what this man did for you,” but movies always seem to have some other sort of artistic direction driving home a specific point.
I think I will check this out when it hits theaters.
Well… certainly it’s true that Mel Gibson is American… there can be no denying that… but you know something? He still spends a lot of time down here in Australia. After all, his entire family migrated here many years before he, himself, started his theatrical career. Indeed, I’m pretty sure his cinematic career started here in Australia in 1978 with a really charming film called “Tim” with Piper Laurie and then he went on to Mad Max I and II, he then made a film in the US called “The River” with Sissy Spacek, came back to OZ and made Mad Max III and “The Bounty” and then went back to the US and kinda ended up in the “Lethal Weapon” franchise circa 1987.
My point here is this… Mel Gibson consistently acclaims the National Institutue of Dramatic Arts (known locally as NIDA and which is effectively an OZ version of the Royal Theatre in England) as being his spiritual home in terms of theatrical influence.
Look, I know I’m going off on a bit of parochial “local boy made good” kinda tangent, but it really is a very charming thing that when Mel Gibson comes back to Australia each year, he always makes a point of catching up with his peers in the late 70’s and early 80’s - many of whom went on to big things themselves. Think Bruce Beresford and Peter Weir for starters.
My understanding is that at least half of the road crew for Braveheart were Aussies - based on this link alone.
I wouldn’t be surprised if a shitload of Aussies were also involved in “Passion” too. Certainly, they were in “Hamlet”.
It was my impression that Gibson planned on relying strictly on visual elements and viewer familiarity to tell his story, in such a way that spoken words wouldn’t strictly be necessary. As another poster on another board I frequent observed, no subtitles would effectively make this the first major silent movie put out in seventy years or so. That sounded like a fascinating experiment in filmmaking, and I was eager to see how the moviegoing public responded to it.
Yeah, but silent movies had subtitles anyway. And “Silent Movie” by Mel Brooks was released in the late 70s, I believe.
Not entirely silent, of course. Marcel Marceau has the only dialoge in the film.
Yeah, I was a little disappointed that everyone who I saw on screen was white, too.