Mark Reviews Movies: MARY MAGDALENE

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Review by Mark Dujsik | April 11, 2019

The screenplay for Mary Magdalene, written by Helen Edmundson and Philippa Goslett, observes the story and lessons of Jesus of Nazareth through the perspective of Mary of Magdala, most commonly known by the name of the film's title. The film further looks at this story, these characters, and those lessons through the lens of history. It takes place in the final year of Jesus' life, as he's preparing to make a trip to Jerusalem during Passover. From the start, that story's less capital-B Biblical and more down-to-earth approach is apparent.

We're in Judea in the year 33—but "C.E.," "Common Era," not "A.D.," "anno Domini" or "in the year of our Lord." It's a simple but pointed signifier that, while the film may deal with matters of religion and faith, it has more earthly things on its mind.

The most noteworthy change from the Biblical stories—or, better, the widespread interpretation of those stories—is that Mary is no longer portrayed as a prostitute, who reforms herself after coming into contact with Jesus. A text coda informs us that, even in Christian Scripture, Mary is present during Jesus' teachings, at his death, and as one of the first witnesses to his resurrection. The much less generous interpretation of Mary came centuries after Jesus' death.

Here, she claims her place as a devoted disciple and, later, apostle, who understands her teacher's message more than any of the men who follow Jesus. For that wisdom, the male hierarchy of the religion that followed would go on to punish her—dubbing her a fallen woman, saved only by the mercy of a divine man.

That's the basic, central through line of Mary's story here. It becomes far more meaningful, though, because of the film's juxtaposition of Mary's place in Jesus' life and understanding of his teachings with the motives and beliefs of Jesus' male followers. Most of those motives are political. Most of those beliefs are founded upon a vision with a narrow focus on the here and now.

The men want answers for their contemporary world, and they want a leader who will show them how to correct the problems of their time. Mary hears Jesus' words and hears them more clearly—not as parables against the political challenges of the time but as allegories for a world beyond this one. She doesn't see the future leader of some uprising against Roman rule. She sees a man with unknowable preternatural powers and an apparent connection to some realm that exists outside of this mortal coil.

Rooney Mara plays Mary, a Jewish woman whose upcoming marriage to a local widower has been arranged by her family—mostly her elder brother Daniel (Denis Ménochet). Realizing that any life she may have wanted is finished before it even began, Mary goes to the temple and furiously prays. Daniel comes to believe that his sister has been possessed by a demon or several, and when a man celebrated for his healing abilities arrives nearby, that man is summoned to exorcise whatever evil presence may be inside Mary.

The man is Jesus (Joaquin Phoenix), who looks at Mary with a compassion and an understanding with which no one has ever looked at her. With that look and that kindness, Mary leaves home, is baptized, and goes on to follow Jesus with his other disciples, including Peter (Chiwetel Ejiofor) and Judas (Tahar Rahim).

The rest of the story mostly follows the Biblical accounts, with Jesus going to from town to town to perform more and more impressive miracles. This may be Mary's story, but Phoenix and director Garth Davis portray Jesus in a rather curious but fulfilling way. Here is a man first, who himself seems confused, overwhelmed, and maybe a little terrified by the miracles of which he is capable.

At one point, a crowd gathers around him, with people looking for healing, and as he lays hands upon person after person, he comes close to collapsing from the effort and the claustrophobia of being swarmed by dozens of people. Jesus' encounter with the dead Lazarus seems to surprise even him. Phoenix plays him with quiet warmth, speaking his teachings in such low tones that they seem a secret that even he is hearing for the first time.

The major conflict here is not with Jesus' political or religious opponents. It's among the ranks of the disciples. Judas and others are convinced that Jesus is the prophesized Messiah, a warrior leader who will help the people rise up against their oppressors. His betrayal comes as he begins to see that Jesus has little to no desire for physical conflict. Peter is of a similar opinion, although he possesses moments, such as when he and Mary care for a village filled with the dying, in which he seems to comprehend the real meaning of his teacher's words. In the end, there's a great irony that Peter looks to some future return of Jesus, instead of accepting what the man's teachings could do in the present.

Mary Magdalene doesn't deny or obfuscate the core tenets of Christianity, but through Mary's own compassion and belief and ability to actually hear what Jesus says, the filmmakers argue that such faith is only useful if it's put into practical, not esoteric, terms. That's the lesson Mary learns, and it does some good in the world around her. Everyone else looks for war or to some ideal possibility for the future, misunderstanding those lessons then and, for that matter, even now.

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