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His views about religion and American society transmitted through this innovative media modality significantly shaped the culture of his country in ways that would be churlish to deny and unsafe to ignore, especially as “an architect of modern consumption” (Higashi Culture 203) who “had considerable influence on the craft of motion-picture making and on the popular culture of the United States at large” (Wexman 84).ģDespite public cynicism about religious filmmakers more concerned with selling seats than saving souls, DeMille was “a genuinely and deeply religious man” (Butler 144) from a profoundly religious family.
#JUDAS KISS MOVIE REVIEW PROFESSIONAL#
Top of pageĢAs a seminal film pioneer, innovative producer-director 2, and self-confessed pop culture professional (DeMille and Hayne 195), DeMille instituted the “Age of Hollywood” (Paglia 12), helped develop the classical narrative style, and became “the man most identified with the biblical epic” (Lang 13) with his indelible classics: The Ten Commandments (1923), The King of Kings (1927), Samson and Delilah (1949) and The Ten Commandments (1956).
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Further research into DeMille studies, Hollywood epics, and the emerging interdisciplinary field of religion-and-film is recommended, warranted, and already long overdue. It was concluded that DeMille was a defter biblical filmmaker than has been hitherto appreciated. Often unappreciated was DeMille’s harmonisation of the conflicting hanging versus disembowelment accounts of Judas’ demise. Utilising humanist film criticism as the guiding analytical lens, the critical DeMille, film and religion literature was selectively reviewed and his silent Jesus film, The King of Kings (1927) was closely examined to reveal his dramatic construction of Judas Iscariot, which was briefly compared to some cinematic rivals to highlight its frequent superiority. DeMille, the legendary cofounder of Hollywood, progenitor of Paramount studio, and unsung Christian auteur was a master of the American biblical epic whose indelible classics became the template for numerous ancient epics thereafter.
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The package also features entertaining liner notes by Vance Brawley and Nathaniel Thompson and a picture of Natasha Henstridge.Cecil B. There is room for a more comprehensive compilation of music by the gifted composer, but for now - coupled with an entertaining, but hardly standout, jazz score - this will do nicely. Performance and recording of the concert could be a little better, but generally things sound good, and as an introduction to the music of Christopher Young you can't go far wrong with this. Rounding off the album is a 12-minute suite of highlights from the two Hellraiser scores, the second of which arguably remains Young's greatest achievement. The superb end title from Copycat follows, and then comes a suite from the excellent Species. First comes "The Helicopter Chase" (another wacky cue title) from 1986's Getting Even, a completely obscure film, but one that allowed Young to hone his action music style. As ever, Young provides irreverent, delicious track titles - "Lizard Meditations", "Beef Orgasms", "Bee Wax Menthol" - all completely meaningless, of course, but still wonderful.Īfter the score (which is actually for a 1997 movie, but wasn't released until late 2000) comes a recording of a concert of Young's music given at Butler University in Indianapolis 1997. Humorously, the cue entitled "Ameliorate" is clearly modelled on Jerry Goldsmith's "Nightmare at 20,000 feet" music from Twilight Zone: The Movie. Three enjoyable, but somewhat low-key, jazz numbers open the album, followed by what is undoubtedly the score's highlight, "Coco-la-Mambo" - stick it onto repeat and listen to it all day, you still won't tire of it. One of the most impressive sides of his compositional skill to have emerged in the last few years is jazz - he has written excellent scores for the likes of Rounders, Norma Jean and Marilyn and, recently, The Hurricane. 2000 Citadel Records Corporation review copyright (c) 2003 James SouthallĬhristopher Young was originally pigeonholed as a horror composer, but since then has carefully stretched himself so that these days he is at home writing in any genre.