At 05:41 PM 3/1/2004 -0600, Jeffrey B. Gibson wrote:
>...It also stands behind the real source of Gibson's script -- Klemens
>Bentano's edition of the Venerable Sister Anne
>Catherine Emmerich--an eighteenth-century German stigmatist and
>mystic--entitled Dolorous Passion (1833)...
(Apologies for cross-posting)
This has been oft-mentioned in the published reviews, but seldom mentioned
in our current threads on the movie. For a discussion of the influence of
the Emmerich Passion on Gibson, see
For example, one detail due to Emmerich was pounding the nails all the way
through the horizontal beam of the cross, so that the points protruded on
the opposite side.
Also, the appearance to Jesus of the devil in the Garden of Gethsemane was
due to Emmerich. FWIW, that addition to the Gospel accounts is the best (in
a literary sense) addition in the whole movie, in my opinion. But I refer
to the idea, rather than to how it was implemented (about which I have no
Some of the anti-semitism in the movie is due to Emmerich, e.g.:
>Emmerich's visions of certain actions by Jews are not based in scripture.
>For example, "The Dolorous Passion" describes "numerous devils among the
>crowd, exciting and encouraging the Jews, whispering in their ears,
>entering their mouths, inciting them still more against Jesus." In Mel
>Gibson's movie, an androgynous devil moves through a Jewish mob as Jesus
This could have been done in an exculpatory way, that is, to convey the
point that it was the devil, not the Jews, who was responsible for certain
Emmerich's Dolores Passion is on the web, in full, at
(mind the wrap!)
Robert M. Schacht, Ph.D.
Northern Arizona University
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