TUTTA COLPA DI GIUDA
Italy, 2009, 102 minutes, Colour.
Kasia Smutniak, Fabio Troiano, Gianluca Gobbi.
Directed by Davide Ferrario.
Maybe Italy would not be the first country, with its deep-seated Catholic traditions (along with some anti-clerical heritage), to make a film about putting on a Passion play, re-thinking the meaning of expiation and sacrifice. But, by 2009, here was Tutto Colpa di Giuda. The reason that Judas gets his name in the title rather than Jesus is that the film is set in a Turin prison with inmates performing the play. And no prisoner wants to take on the role of Judas.
Writer-director, Davide Ferrario, was a volunteer for work in a prison for ten years. The experience led to this idea of prisoners doing a religious play and prisoners, in fact, play the main central roles in the film.
The setting up of the situation is ordinary enough. A young director, Irene (Polish actress, Kasia Smutniak), is allowed to come into the prison to work with a special section, not considered dangerous, and do theatre work with them. They are interviewed on video, so we have some inlking of their past and their personalities (although they do not become particularly clear as distinguishable characters throughout the film). They are wary, especially when asked to perform choreographed dance movments. However, they eventually give it a go. The chaplain is very enthusiastic. The warden does not want prisoners too excited and agitated. The nun who works in the prison presents the puritanical and sour face of the church.
It is the chaplain who has the idea of doing a Passion Play for Holy Week. Irene director, is agnostic and does not know the Gospels. She buys a copy, reads and studies and has to come to terms with an interpretation of Jesus. A first passage puts her off, Jesus cursing the barren fig tree (which is briefly but effectively shown as a black and white wash animation sequuence). But, this gives her the idea of Jesus as obsessed with his salvific mission rather than genial and gentle: tough talker, hard on his disciples and half-heartedly working miracles.
The priest urges her to consider further the human element in Jesus. This gives rise to quite an effective modern dance interpretation of Jesus on her part, especially in gesture, she finally leaping over the cross. The prisoners cannot make much of this performance.
The prisoners choose roles, avoiding Judas. They are fitted with costumes and a big solid cross is built and set up (which sets them wondering how Jesus ever carried his cross). By now, used to dance, they sing a vibrant song about Judas, about trials and judges, about imprisonment, a song and dance routine with verve.
Irene begins a secret affair with the warden. With her support, the inmates decide to get rid of the cross and their block letters with 'expiation' (espiazione) which they turn so that facing the audience is 'freedom' (liberta). They want to emphasise Jesus' passion for life and that everyone should have exuberant life through him. This lively song and dance routine, 'Come and Dance' has Jesus finally coming down from the cross and joining everyone in the dance. It is too much for the chaplain who tells Irene she has gone too far with her human element and this is a blasphemous interpretation. He declares that it goes against faith and the role of the Church. She, on the other hand, speaks against religion.
With a performance planned for Good Friday, two events complicate the issue. First, the prisoners discover her affair with the warden and refuse to perform. She has to choose and, of course, in a sacrifice of her own, chooses them. The second is an amnesty announcement which means that almost all of the prisoners will be released on Good Friday. The play will not go on because they choose life.
How to resolve the drama of the film? The prisoners set up a table, dress formally in suits and ties and sit for a last supper with Irene. The actor for Jesus takes on the role and speaks the Gospel words over the bread and wine. They all sharethe oaves and, with the wine, toast Irene. The supper is a celebration and Jesus' saving of the world, with a sacrifice, is so that they might live.
This is a Jesus film in the tradition of the Passion Plays, of Jesus of Montreal, of Corpus Christi, of Man Dancin'. It is a presentation of Jesus and selected Gospel episodes, not to give a theological interpretation but to explore some spirituality aspects of Jesus' life and mission. Using contemporary rhythms, songs and dance, it suggests questions and evokes feelings about the Gospel message.
1.The films about Passion Plays, putting on the play? This variation? Italian and modern?
2.The experience of the director, volunteer in prisons for ten years? His cast, prisoners? The prison setting, the look, the cells, the corridors, the yard?
3.The film described as a commedia with music? The musical score, the range of songs, the lyrics, the choreography, the use of Gospel texts and themes?
4.The combination of the stylised and realistic? The songs, the choreography?
5.Irene, her arrival, her mission in the prison, the permits? The idea for working with the prisoners, theatre? The special section, no danger? The background of her life, theatre, her boyfriend, her phoning him on the film set, his wandering eye with the script girl, his appearance, Rasputin-like? At home, talking with him – and his song about breaking up?
6.The taped interviews of the prisoners, the different types, rugged? The auditions, the corridor dance and rhythms? The group, watching Irene? Sceptical?
7.The chaplain and his enthusiasm, on his bike, thirteen hundred prisoners? Friendly, encouraging? The idea for the Passion Play? His liking the songs and the rhythms? The final song and his turning against the project? His discussions about religion and faith, the church? The nun, her work in the prison, sour-faced, prim, harsh, giving out the magazine, the naked photo and her comment about Mary Magdalene? Her prayer against the production? Images of church and religion?
8.Irene and her teaching the choreography, the nature of the dance? Her own response to the Gospel story and dance? The warden and his warning against the prisoners getting too excited, his later apology? Going to his room, her drink, his taking her up to the roof, talking, giving her the key, her moving into the prison, the affair, the effect on her work, on the prisoners? The group considering she had betrayed them? Her having to choose between the warden and them?
9.Her not knowing the Gospels, going to the shop, buying the text, reading it? The story of Jesus and the fig tree and her reaction, the interlude of the animation and its style of this Gospel episode? Her insight about Jesus being obsessed, his mission, the way that he treated people? The miracles?
10.The further reading of the Gospel – leading to her interpretative dance, the impact for the audience, the puzzlement of the prisoners?
11.The prisoners, choosing the characters, costumes, nobody wanting to be Judas? Their discussions about the Gospel story, trial, judges, justice? The actors being measured for their position on the cross?
12.The song about Judas, the lyrics, dramatising the title of the film, a perspective on Judas and the Passion?
13.The building of the cross, heavy, lifting it up, themes of expiation – the discussion about Jesus and his suffering, how hard it was to carry the cross? The nature of sacrifice? The building blocks and the word expiation? Being turned into liberty?
14.The insight to eliminate the cross? The song, ‘Come Dance with Me’, Jesus coming down from the cross, the exuberance of his sharing the human experience, salvation? The variety of reactions of people watching it?
15.Irene’s decision, the betrayal, her choosing the prisoners?
16.The news of the amnesty, everybody getting out, the show not going on? The preference for liberty and life?
17.The staging of the Last Supper, the actor portraying Jesus, everybody in suit and tie, the waiting in traditional dress? The loaves, the wine? Sitting at the supper table? The Jesus actor and his words of breaking the bread, the wine being distributed? The toast to Irene? The significance of the Last Supper and its being used as a metaphor for what was happening in the prison?
18.The looking back at the film stock, looking at themselves, the chatter?
19.The effect on the audience of this kind of Passion Play, a spirituality rather than theology, showing in a contemporary way the Gospel issues, the questions for people who do not share faith? The possibilities of understanding Jesus and the Gospel message?
