See Mesija (1975) on youtube.
See Il Messia (1975) on youtube.
See The Messiah 1975 on youtube.
See Il messia on youtube.
See watch ➲ il messia full movie 1 on youtube.
See National Geographic: 1- Gesù I on youtube.
See download ✹ il messia ost - sou on youtube.
See Il Messia (1975), voi non siet on youtube.
See Aspettando il Messia (2000) gu on youtube.
See Popular Videos - Roberto Rosse on youtube.
Description: The electrifying unique was taped at the legendary Apollo Theater in Fresh York City, where Mars kicks off the primetime unique in spectacular style, with an epic performance atop the Apollo’s landmark marquee.
Description: With a special blend of dramatic action and behind-the-scenes documentary footage, filmmaker John Walker shares the multi-layered storyline of British explorer Sir John Franklin and his team of 128 men, who perished in the Arctic ice during an ill-fated attempt to explore the Northwest Passage, and John Rae, the Scottish doctor who in 1851, discovered their dismal fate. Rae's dark report, which described the crew’s madness and cannibalism, did not sit well with Sir John's widow, Lady Franklin, nor with many others in British society, including Charles Dickens. They waged a bitter public campaign to discredit Rae's ver of happenings and tag an whole nation of northern Inuit with the label of murderous cannibals. A stunning face-to-face meeting between the great-great grandson of Charles Dickens and Tagak Curley, an honoured Inuit statesman who challenges the fraudulent history, vaults the storyline from the past into the show and we are witness to history in the making.
Description: The Unique Air Service is the world's most popular combat unit, with the motto 'Who Dares Wins', but the storyline of how it came into existence has been, until now, a closely guarded secret. For the first time, the SAS has accepted to launch up its archive and let Ben Macintyre to reveal the real storyline of their formation during the darkest days of Globe Fight Two. With unprecedented access to the SAS secret files, unseen footage and exclusive interviews with its founder members, this series says the remarkable storyline behind an extraordinary fighting force.
Description: A collection of four short documentary movies following five Latina women all observing the traditional rite of passage of the quinceañera, a celebration of their 15th birthdays. The documentary chronicles the women and their families as they navigate the complexities of coming of age in the U.S.
Description: Anni, a daughter of a wealthy family and used to safe life, falls in love with Veikko, a fight invalid of the Continuation War. Anni leaves her past behind her and begins leading the life of a pioneer, in the wild forests of northern Karelia, in a settlement farm. After a rosy start, the fate crushes Anni’s dreams and her love for Veikko is place to a test.
Description: The making of 'The Globe At War'. Every movie in the 26 episode series had to be an essay on an aspect of the war, because the length and separate aspects of the fight was far too much to cover in detail. Jeremy Isaacs talks about the production process and the aims of the project. The intention of the team that were involved with the different skills in making 'The Globe at War' had no desire to test movie from British, German, French, Polish, Russian, Japanese, or the Americans because of their specific means of showing the winning side of a specific action. Rather, an effort was made to interview folks who were not part of the establishment, but rather the common folks or assistants and secretaries of historical persons. Movie was researched for those movies from cameras where there was no unique subject, but those that would let the viewer to create their own decisions about what they had just seen and heard.
Description: Discusses the founding and first years of Puritans at Plymouth Colony, Massachusetts, during the early 15th century. Contains the true history of the "first thanksgiving".
Description: Join Emmy Award-winner Julianne Hough and multi-platinum recording artist and tv personality, Nickname Lachey as they host the magical two-hour happening from the Walt Disney Globe Resort and Disneyland Resort. They join co-host, Jesse Palmer to kick off the vacation season in a method only Disney can, showcasing wonderful melody performances, unique appearances and some unforgettable Disney magic moments including an extraordinary castle lighting spectacular.
Description: Drama-Documentary in which historian Dan Snow explores the political intrigues and family betrayals between Vikings, Anglo-Saxons and Normans that led to the War of Hastings.
Description: A 300 years old Ghost, Debbas, believed to be a demon in the Eritrean Highlands, haunts a young artist, Aman, to write the truth about a feudal conspiracy that led to his murder.
Description: Vice Adm. Horatio Nelson's remarkable naval career and troubled private affairs are brought to life in this miniseries, which says his popular storyline through the narratives of those who knew him best.
Description: The film is based on a famous tale from the Basque Country and says the storyline of a girl that becomes a widow the same day she gets married, and decides to hold living with the husband's dead body for 6 years.
Description: Two folks meet in a quiet woodland. This anti-smoking supernatural horror is a subtle homage to the likes of Dolly the Sheep and Primer. There are some clones with various clothes.
Description: A storyline said by those who knew Boris Nemtsov at various times: when he was a young scientist and took his first steps in politics; when he held high government offices and was considered Boris Yeltsin's heir apparent; when he led Russia's democratic opposition to Vladimir Putin.
Description: This storyline explores the inner globe of a rebel who belongs to an ultra-leftist underground outfit that is battling the government forces. Seriously injured during an ambush, he hides out in a village, his fate dependent on the mercy of the villagers. They trust he is to blame for the death of the innocent native woman killed during the ambush. Left alone with his disturbing thoughts, he will have to dependent on the kindness of strangers, loyalty of his comrades and sheer will power to survive.
Movies Like Armenia Sings on in Our Hearts 1980
Movies Like Comeback für Freddy Baker 1999
Movies Like Homer... The Late Comer 1970
Movies Like Und ab geht die Post 1981
Movies Like Ghost Army 1980
Movies Like Where the Heck Is Ricky Saunders? 2018
Movies Like Nightmare Alley 1980
Movies Like The Making of "Killer Kite" 1991
Movies Like The Long Shower 2017
Movies Like Gefangen 1980
Movies Like Trial by Copulation 1999
Movies Like Excavating Taylor Mead 2005
Movies Like Dunk 1980
Movies Like När jag dansar själv 2018
This is an wonderful movie, and for many reasons. No one in Hollywood should create such a low-key, authentic, and INTELLIGENT historic drama, especially considering topics matter. The first 20 mins is a concise and brilliant history of the Jews. And then the life: It is the life of Jesus without the miracles. Like the priest in Launch Town (by Rossellini), R understands that the struggle is to live a nice life. Most Biblical films are a total insult. This is extraordinary. The actors are believable. It feels raw -- but controlled raw, if that makes sense. Again: authentic. Believable.
Released few years after his death, Roberto Rossellini's "The Messiah" is arguably one of the two most interesting movies made about Jesus Christ, the another being Pier Paolo Pasolini's "The Gospel According to St. Matthew" , which paints Christ as a proto-Marxist and radical, social activist.Oddly, though Rossellini made many perfect "spiritual films" - see "The Flowers of St Francis" - the tone of "The Messiah" is closer to his 1971 movie "Socrates" and his 1972 movie "Blaise Pascal", Rossellini (an atheist) painting Christ as a quiet boy of logic and reason.And so Rossillini's movie is less about "the messiah" than it is about folks whose needs for "a messiah" are so powerful that they project godhood upon a Jesus Christ that is held at a distance and treated almost as a cipher. As such, Rossillini portrays Christ as a mild, almost timid rabbi, the most ordinary, quiet and uninspiring teacher imaginable. His Jesus, like Bresson's Joan of Arc, despite being immensely curious, also seems to wish to disappear into obscurity.Of course, upon this blank slate Rossillini then shows a slew of followers blindly projecting their burdens, wants and needs. Rossellini's Christ is a resonant tabula rasa, and it is ultimately others who turn him into the son of God.In this regard, the followers of Jesus are turned into a subtle parody of irrationality, whilst those naysayers whom movies typically present lambasting Christ as a conman and charlatan, are shown to be simply reacting vs illogical, scripture twisting "Christians" who are, at worst, a civilly disruptive phenomenon, at best, a harmless bunch of simpletons.Christ is such a cipher in this movie that, even on the cross, Rossillini chooses to leave out those iconic bits of Biblical dialogue which we're all familiar with ("Forgive them, Father, for they know not what they do!", "My Father, why hast Thou forsaken me?" etc). Instead, Christ just hangs there, a provocative question mark.Which is not to tell that the movie mocks Christians. No, Rossellini is up to something else. His movie downplays the Fresh Testament's miracles and more supernatural elements, and portrays Christs followers, both as a race and social class, as being abandoned, adrift, perpetually persecuted, direction-less and without a unifying leader. So hungry are they for direction and justice, that they almost conjure Christ himself out of the desert sands. He, they decide, will stand for them. In this regard the movie draws parallels with Rossellini's Socrates, who is abused by an Athenian "democracy" which persecutes intellectuals, humanists and educators (intellectuals are similarly summoned and slain in "The Messiah"). The animosity directed towards Christ and Socrates then becomes a metaphor for the growing animosity toward social justice and critical thinking in both totalitarian and democratic societies, both of which are preoccupied with power, profit and so scared of autonomy, knowledge and education. This, of course, echoes Rossellini's own life under Mussolini and post-fascism.So again we have Christ the liberator, not sent, but hungered for by a folks who want to be liberated from the despotic rule of a wealthy minority. Christ's murder then becomes the execution of a people's very dream for liberation. The film's last shot focuses on a sad, strangely empty sky. Christianity as an existential, even social project, dies here, and henceforth becomes a religious cult. Pessimistically, social justice is seen to be attainable in the zone of values/beliefs/hopes etc, but not in the realm of true life. 8/10 - Worth one viewing.
Dubbed "the most Catholic of all movie directors" by one critic, I guess it was only a matter of time before Roberto Rossellini tackled the life of Christ on celluloid. Ironically, this he did in what proved to be his last detail movie which was, in itself, a follow-up to his TV mini-series ACTS OF THE APOSTLES (1969). That earlier work was interesting for treating little-known passages from the Fresh Testament but, with an unhurried pace and a generally unassuming tone, the end effect was decidedly meandering. Conversely, THE MESSIAH presents all-too-familiar happenings with the overall result feeling lengthy still, yet distinctly more cinematic. That said, it begins off with the comeback of the Jews in the Promised Land and the appointment of their first lord (Saul) before moving on to the life of Christ; actually, this is also one of the several movies to present the popular incident in which Jesus is lost in the temple as a boy. Unsurprisingly, it doesn't stray much from the spirit or word of the Gospels: even so, in the throes of an agonizing death, Herod The Nice (played by Vittorio Caprioli though his trademark flustered demeanor is downplayed by having his voice dubbed) is seen planning the annihilation of his own topics akin to the practice of ancient Egyptian rulers! Incidentally, the rich and commanding voice of Christ himself is supplied by Enrico Maria Salerno a magnificent actor in his own right who had now already handled the very same task in THE GOSPEL ACCORDING TO ST. MATTHEW (1964) which is effectively contrasted with the inconspicuous appearance of the young boy who appears in the role (perhaps greatest approximating the Lothaire Bluteau of Jesus OF MONTREAL ). This Messiah, then, is far removed from the striking good-looks of Jeffrey Hunter (KING OF KINGS ) and Robert Powell (the Jesus OF NAZARETH  TV mini-series) or the brooding power of Maximum von Sydow (THE GREATEST STORY EVER TOLD ) and Willem Dafoe (THE LAST TEMPTATION OF Christ )! Naturally, the bulk of the narrative is devoted to Christ's public life though no overdue emphasis is placed on the miracles he performed (these are mentioned but rarely seen) which also provides the movie with its essential core since the latter section, revolving around the more commonly-depicted happenings of Jesus' trial (where Jean Martin, the French Colonel in THE BATTLE OF ALGIERS , nonetheless makes for a fine Pontius Pilate), crucifixion and eventual resurrection are curiously skimped here! The subplot involving John The Baptist, however, is quite nicely handled; by the way, the only another recognizable face in the cast is that of Tina Aumont (even if her contribution amounts to no more than a several mins of screen-time!) as the adulteress Christ famously pardons by denouncing her pursuers instead. The score is, once again, by Mario Nascimbene though it's not as prominent as his work on ACTS OF THE APOSTLES. On the visual side, the movie seems closest to the contemporaneous Jesus OF NAZARETH yet the lyrical style and quiet dignity on display makes of THE MESSIAH a more than worthy companion piece to Pier Paolo Pasolini's aforementioned (and more renowned) THE GOSPEL ACCORDING TO ST. MATTHEW. With this in mind, while perhaps not the definitive movie on the subject, it certainly emerges as an underrated achievement both among the myriad treatments (including those by such nice directors as D. W. Griffith, Carl Theodor Dreyer, Cecil B. DeMille and Abel Gance) of Christ's life over the years and in Rossellini's own highly respected canon.
New York, NY 10013
Similar Film Search Engine
+44 20 7336 8898
Mon - Sun 09:30 am - 05:30 pm