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The Gospel According to St. Matthew / Il Vangelo secondo Matteo Series: Heretical Epiphanies: The Cinematic Pilgrimages of Pier Paolo Pasolini Director: Pier Paolo Pasolini, Country: Italy, Release: 1964, Runtime: 137 Restored Print Pasolini’s radical vision of the life of Christ, dedicated to the memory of Pope John XXIII, was shot in the virtually untouched southern Italian region of Basilicata, known as Lucania during the Roman era (he had wanted to shoot in the Holy Land itself, but was disappointed by the modernization he encountered when he visited there). For his recreation of Jerusalem, he shot in I Sassi, a town within the ancient town of Matera, which has been inhabited since the Stone Age. As in all of Pasolini’s films, a strong autobiographical element is at work. He cast his own mother as the Virgin Mary, and his Jesus (played by a young Catalan student named Enrique Irazoqui) is a revolutionary firebrand whose works are accompanied not by an Alfred Newman score, but by Odetta’s version of “Motherless Child” and a Congolese version of the “Missa Luba.” It’s the restless energy of the film that is so compelling: the explosions of joy, lamentation and anger over injustice. With The Gospel According to St. Matthew (for the original Italian title, Il Vangelo secondo Matteo, Pasolini left out the “St.”), the attacks came from the leftists. Nonetheless, Pasolini found striking parallels between Christ and the increasingly politicized youth around him, and the film has the potent immediacy of a newsreel.

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