I’ve posted on this four times previously (1, 2, 3, 4), in part because it’s such an intriguing day. Bryan Appleyardtweeted 3 years ago: Easter Saturday, a catastrophic, hopeless day of no hope. Some say all Beckett’s work takes place on Easter Saturday. I guess that hopelessness is how it felt back then, around 1984 years ago. But if you’re a believer it’s different – you know what’s coming. This astoundingly good Mantegna painting sums up the Appleyard view…
……it looks to be all over. But the mysterious activities behind the scenes, so to speak, on this Saturday are Christ entering hell, as seen in this engraving, also by Mantegna. Note that Christ is trampling down the gates of hell, with the souls in limbo waiting expectantly through the open door…
..and you may ask what that’s all about? I went into the background to it here. It’s decribed in the Catechism as the “last stage of Jesus’ messianic mission”, to “preach even to the dead”. It’s produced some pretty flamboyant painting, such as this derivation of Rubens, Bosch and other Low Country painters…
Easter Saturday then is quite a day. The transient attempted secularising of Easter makes no difference to these awesome traditions and beliefs. Here is a fine blog post on the Limbo thing and its depiction, if you’re interested, and also a great study of the ‘Appleyardian’ view in painting.
** the title is from the famous and highly poetic sermon of Melito of Sardis: Something strange is happening—there is a great silence on earth today, a great silence and stillness. The whole earth keeps silence because the King is asleep. The earth trembled and is still because God has fallen asleep in the flesh and he has raised up all who have slept ever since the world began. God has died in the flesh and hell trembles with fear.
If I may rehash a film cliche: what can a gay Marxist atheist anticlerical football fan teach us about Lent? Well, quite a lot actually.
I have to admire Pier Paolo Pasolini whose range of subjects is pretty remarkable. His so called ‘Trilogy of Life’ is near the knuckle but amazingly evocative of those ages and places that it wishes to depict: medieval England and Italy and the timeless exoticism of Arabia. His gross and grotesque Salo is in its deeply unpleasant way a serious film. Given its inspiration and setting, if it was remade today it would be called Raqqa.
The man had a distinctive cinematic style, and like his fellow Italian Sergio Leone, he was an absolute master of the human face. The most ordinary of people become gripping subjects instantly. Emotion is routinely underplayed, and is the more powerful because of it.
When it comes to Lent, the key is his remarkably pure and beautiful Gospel According to St Matthew (1, 2, 3, 4, 5). At a stroke Pasolini went from being in trouble with the Church and others for Accatone and Ro.Go.Pa.G to being justifiably feted by the Vatican for this movie, described in 2014 by L’Osservatore Romano as “…the best work about Jesus in the history of cinema”, although when it came out 50 years earlier, some of the church old guard had struggled with the idea that Pasolini could do this in all sincerity. But he did.
Why specifically Lent, given that the movie tells the story of the whole of St Matthew’s Gospel? The answer lies in Jesus’ 40 days in the desert, praying and fasting, which is the most recent and most striking of the various allusions in scripture to Lent as we know it today. There he is tempted by Satan, and dismisses him with pointed references to the Old Testament.
In this film Pasolini typically used a lot of locals with no acting pedigree. He scattered in various acquaintances from his intellectual salon, and also his own mother. The locals are from Crotone, Matera, and Massafra, which is that primitive part of Southern Italy that stands in for ancient Palestine – totally convincingly. However, the desert sequence was filmed on Mount Etna, and it works brilliantly. The emptiness interrupted by the distant figure of Satan, walking purposefully towards Jesus, the dust billowing in his wake resembling, possibly intentionally, sulphurous fumes. Satan himself is startling and charismatic, portrayed in the most understated way yet brimming with both evil and, one senses, confusion. Weirdly, this is the one main actor in the film who goes uncredited, as far as I can ascertain.
Other people find other scenes more compelling, but this desert sequence does it for me. Pasolini moved on to other things, some mentioned at the start, and got himself disapproved of again. However, he never disavowed his fascination with Christ and his teaching, seeing it in terms of its superficial similarities to socialism and more convincingly, Jesus as a revolutionary, of a unique kind. He often mused on this paradox: “I am anticlerical (I’m not afraid to say it!)… but it would be insane on my part to deny the powerful influence religion has exerted on me”….“I do not believe that Christ was the Son of God, because I am not a believer—at least not consciously.”
Which is fair enough. But this man of contradictions was also anti-drugs, anti-establishment and remarkably, completely anti-abortion. This is from when he opposed the legalisation of abortion in Italy in 1975: “I am however shocked at the idea of legalizing abortion, because, as many others, I consider it a legalization of homicide. In my dreams and in my everyday behaviour – an attitude common to all human beings – I live my prenatal life, my being happily immersed in the waters: I know that I existed then. I will stop here, because I have more urgent things to say on abortion. That life is sacred is an obvious thing: it is a principle even stronger than any principle of democracy, and it is useless to repeat it.”
He also portrayed the actuality of hell in one scene from The Canterbury Tales, in a mind blowing mix of Hieronymus Bosch, the Carry On movies and Dante’s Inferno. One thing he gets right, based on the popular imagination, is the deafening, screeching noise of hell.
Having said that, the real Satan, who affects us all, is the one in the desert.