Drama

The Gospel According to Matthew

- A Motion Picture which will be seen by the entire world - up to the end of the world!

This biblical drama from the Catholic Marxist director focuses on the teachings of Jesus, including the parables that reflect their revolutionary nature. As Jesus travels along the coast of the Sea of Galilee, he gradually gathers more followers, leading him into direct conflict with the authorities.

Release Date : 1965-03-03

Language :Italian

Adult : false

Status : Released

Production Company : Arco FilmLux Compagnie Cinématographique de France

Production Country : ItalyFrance

Alternative Titles : The Gospel According to MatthewThe Gospel According to St. Matthew

Cast

Character Name : Cristo

Original Name : Enrique Irazoqui

Gender : Male

Character Name : Maria (Giovane)

Original Name : Margherita Caruso

Gender : Male

Character Name : Maria (Vecchia)

Original Name : Susanna Pasolini

Gender : Male

Character Name : Giuseppe

Original Name : Marcello Morante

Gender : Male

Character Name : Giovanni Battista

Original Name : Mario Socrate

Gender : Male

Character Name : Pietro

Original Name : Settimio Di Porto

Gender : Male

Character Name : Andrea

Original Name : Alfonso Gatto

Gender : Male

Character Name : Giacomo

Original Name : Luigi Barbini

Gender : Male

Character Name : Giovanni

Original Name : Giacomo Morante

Gender : Male

Character Name : Filippo

Original Name : Giorgio Agamben

Gender : Male

Character Name : Bartolomeo

Original Name : Guido Cerretani

Gender : Male

Character Name : Bartolomeo

Original Name : Guido Cerretani

Gender : Male

Character Name : Tommaso

Original Name : Rosario Migale

Gender : Male

Character Name : Matteo

Original Name : Ferruccio Nuzzo

Gender : Male

Character Name : Giacomo Figlio di Alfeo

Original Name : Marcello Galdini

Gender : Male

Character Name : Taddeo

Original Name : Elio Spaziani

Gender : Male

Character Name : Simone

Original Name : Enzo Siciliano

Gender : Male

Character Name : Giuda

Original Name : Otello Sestili

Gender : Male

Character Name : Caifa

Original Name : Juan Rodolfo Wilcock

Gender : Male

Character Name : Ponzio Pilato

Original Name : Alessandro Tasca

Gender : Male

Character Name : Erode I

Original Name : Amerigo Bevilacqua

Gender : Male

Character Name : Erode II

Original Name : Francesco Leonetti

Gender : Male

Character Name : Erodiade

Original Name : Franca Cupane

Gender : Male

Character Name : Salomè

Original Name : Paola Tedesco

Gender : Female

Character Name : L'Angelo del Signore

Original Name : Rossana Di Rocco

Gender : Female

Character Name : Un Indemoniato

Original Name : Renato Terra

Gender : Male

Character Name : Giuseppe D'Arimatea

Original Name : Eliseo Boschi

Gender : Male

Character Name : Maria di Betania

Original Name : Natalia Ginzburg

Gender : Male

Character Name : Boia di Giovanni Battista (uncredited)

Original Name : Umberto Bevilacqua

Gender : Male

Character Name : Stefaton (uncredited)

Original Name : Silvio Citti

Gender : Male

Character Name : Pastore con Bambino (uncredited)

Original Name : Ninetto Davoli

Gender : Male

Character Name : Centurion (uncredited)

Original Name : Domenico Notarangelo

Gender : Male

Reviews

CinemaSerf

@Geronimo1967

2022-04-04

This is a breathtaking piece of cinema. I haven't read the text for over forty years, so I cannot swear to the accuracy with which Pasolini reflects the actual gospel, but what is immediately striking is just how aggressive his version of "Cristo" is. Enrique Irazoqui is undoubtedly a beautiful man to look at, but unlike in so many more commercial iterations of this story, his character is portrayed as a strong, demanding and forceful personality. His sermons are powerful instructions to, even condemnations of, the populace. Certainly there is love, but it is a tough love which only evolves as the story does. This characterisation is also surprisingly political. I wouldn't say he is simply to the left or to the right, as we might consider politics nowadays, but he definitely has strong views on corruption, of the venality of society and of the need to care for and to be cared for by each other. The delivery of this potent message hits the mark well. The dialogue is actually quite sparing, much of the audio comes from a mixture of classical music (Bach and Mozart feature prominently) along with themes than sound more African in origin. The photography is intense, no other word for it. The grand scale cinematography well complimented by the close, intimate imagery of the faces of the cast as the story unfolds in an unashamedly emotional (but not sentimental) fashion. I saw this recently again on a big screen and that only enhanced the vividness and vigour of the whole enterprise.