Le jeune Messie

In the Young Messiah movie, some of the star actors are Sean Bean, David Bradley and Sara Lazzaro. The Young Messiah is a drama and takes place in Egypt. This film is also featured on Netflix, Youtube, Amazon Prime and many others as well. Considering that the film took place in egypt, everything looked realistic and was captivating to the eye. During the movie, all the actors performed very well and it was clear that they understood their role.

Overall, the Young Messiah is about Jesus' childhood, starting at 7 years old, and he's exploring the different curiosities he has about himself. However, many people in the city know about the young the messiah and the miracles he can perform. But still have yet to know who he is. He's valued and also wanted by people for the gifts he has, yet as a young boy. He's still unsure on why his parents are so protective of him. There's also a pharaoh that sends his men to look for Jesus.

During the film Satan is present but no one else can see him, other than Jesus. He also appears as a human. In the bible it does not mention that Jesus sees a demon in human form. In Matthew 2:13, it states that joseph was told to flee with Mary and jesus to egypt. This is because pharaoh herod wil search and destroy him. This is very accurate to the Young Messiah. Jesus proclaimed Satan not to touch him, and Satan was astonished by the authority that Jesus had. Matthew 4:6 also plays a factor in the temptations that Satan was trying to give to Jesus. As a result in the book of Luke, the film does not relate to each other. Overall, the film does provide a good perspective for the way Jesus was as a child. Yet there are still a lot of details that are missing within the movie.

Despite some literary license taken with the Bible, the movie still offers great food for thought for considering what Jesus's developmental days might have been like...for Jesus and for all concerned in his presence.

The acting is superb (far better than "Risen") with a beautiful Biblical backdrop. The director focuses often on facial close-ups and the actors respond with looks that offer more than words might describe.

Sara Lazaro is perfect as Mary. Sean Bean outstanding as Severus. Adam Greaves-Neal carefully crafts a compelling young Jesus.

Bible readers know Jesus' first recorded miracle didn't happen till much later and the Wise Men didn't appear right at Jesus' birth, but putting that aside (and the slip-on sandals...I don't think those were that popular then) the movie explores some complexities that might not always be considered when thinking of a young Jesus and overall succeeds in doing it in an uplifting, yet not hokey manner.

Very well done, well paced, with beautiful cinematography and acting. Traces the life of Jesus as a child for a year. Does not follow scripture of course as it is based on an Anne Rice novel, but has the spirit of the Bible and is so well done.

Let's face it: no Gospel or historical source asserts, or even suggests, that Jesus met a character named Ben-Hur, gave him a drink of cold water and stared down a centurion who didn't appreciate it, cured Mom and Sister Hur of leprosy, and then paused on His way to the cross to receive a drink of cold water from Ben-Hur. Didn't happen folks; ain't in the Bible. But these fictional possibilities were woven together by Civil War general under his beech tree in Indiana, and in Sante Fe while he was governor of the New Mexico Territory where he offered amnesty to Billy the Kid, just like in Young Guns II. But when Lew Wallace presented his novel, BEN-HUR, to the world, it has not only been in print continuously, it has also inspired three films, at least; inspired President Garfield to appoint Wallace as Minister to the Ottoman Empire; gave its name to a sandwich sold in a diner in Crawfordville, IN, and also named a mutual burial insurance society, also in Crawfordsville. All that, and it was FICTIONAL, based upon what Lew Wallace thought was plausible.

The Young Messiah is exactly the same genre. It does not claim to be a Biblical explication, nor does it quietly pretend to be. It presents a fictional child of Jesus based upon plausibilities, accounts both Scriptural and outside the Bible, and a little bit of poetic vision thrown in. Same thing that Lew Wallace did in Ben Hur.

Yes we can quibble about details. I, too, believe that the Three Wise Men (whom I believe to be certain Roman notables, but I will not say who in this forum) arrived when Jesus was a toddler. But, shucks, Lew Wallace puts them in Bethlehem shortly after Jesus' birth, and two major films put them right next to the shepherds who also visited the stable---just like in the nativity figurines we purchase the day after Thanksgiving from better department stores. Not Biblically accurate---nope---but they still broadcast Charlton Heston as Ben Hur at Easter time. The same latitude should be granted to this movie. The Young Messiah film deserves to inherit the latitude established for it by its predecessors---Lew Wallace, Edward Bulwer-Lytton, Henryk Sienkiewicz, and even Par Lagerkvist. El Greco painted a crucifixion scene, but the city depicted behind Christ on the Cross was not Jerusalem but Toledo in Spain---now that's latitude---and it is considered a priceless masterpiece.

When I was a Junior in High School, my A. P. literature class was expected to read all of John Milton's epic poem, Paradise Lost, in three weeks. I wondered how such a long poem could be derived from such a slender account in the Biblical book of Genesis. Then I found out how: John Milton, with that great organ-like iambic pentameter, used some latitude; a whole lot of latitude, to create a magnificent poetic masterpiece. So, instead of quibling about exact details, as if this film were a lesson in Sunday School, let's receive it as a work of art intended in the same spirit as these other pieces of literature and art that I have cited.

I have been a Christian since 1994, and recently converted to the Eastern Orthodox Faith. My Orthodox faith is not disturbed by the film. I am only an amateur in film appreciation, although a published poet elsewhere, and I found the photography beautiful, the dialogue convincing, and the portrait of Jesus poignant, winsome, and a little bit fun (not like reading Kazantzakis' Last Temptation Of Christ). My faith is not so weak that an inaccuracy in the film will cause me to lose my spiritual balance. I just keep telling myself, "It's only a mpvie, only a movie." A very fine movie; at times, a very spiritual movie; and throughout, a very human movie. It deserves as much respect as our inaccurate Nativity scenes that we put up on the mantle, above the Christmas stockings hanging there, on Thanksgiving afternoon, after Grandma's fine Turkey with all the fixin's.

Out of all the reviews I have written thus far, this one may arguably be the toughest. Not because Young Messiah is a particularly good movie; it's not. I struggle because while it might be easy to lampoon a movie for being amateurish, inept, casually racist, remarkably insincere, thematically dubious and egregiously pandering; this movie's greatest sin however is it's a bore. Clocking in at a sluggish one hour and fifty one minutes, I constantly was asking myself if this film might have been improved if they replaced all the supporting characters with mannequins. Perhaps if Graham Chapman's ghost popped up and sung "Always Look on the Bright Side of Life" there'd be signs of actual, you know, life.

The film starts with the young Jesus (Greaves-Neal) living in Alexandria with his parents Joseph (Walsh), Mary (Lazzaro) and their extended family. After drawn-out moments of pensive staring and one half-hearted occasion of necromancy, the family decides to trek back to Judiah since the infamous King Herod is dead. Then the family walks, and walks, and walks until finally they don't. They stop in Nazareth, then Jerusalem slowly realizing that their movements are being monitored by Severus (Bean), a Roman centurion tasked with finding a certain seven-year-old with a knack for miracles.

The main source of attempted tension comes from Severus and Herod Jr. (Bailey) trying to find the mythic child of Bethlehem. The film takes great pains in making Herod as traditionally evil as possible complete with effeminate, overly dramatic mannerisms, a testy anger and an almost stunning lack of awareness. Sean Bean fairs a little better as Severus by simply phoning it in as the bad guy with a complicated past. Yet even his jaded, near expressionless presence can't make the film exciting. The moments of "chase" are largely missed connections with supporting characters pointing north and saying "he went that a- way." Meanwhile Severus prattles on about Roman steel. We all know the story of Jesus, or at least we know enough to assume he's not captured by Romans at seven-years-old so why is this dull chase the centerpiece of this dribble? At no point in time will a reasonable viewer think Jesus is in any real harm so why the cloak and daggers BS?

The secondary source of tension comes from Joseph's unwillingness to speak to Jesus about his origins because of...reasons. What those reasons are, we're never made privy to. Half-realized conversations happen with such regularity that one would be hard-pressed to find anyone's reasons for doing anything in this movie. Jesus on the other hand seems to take things in stride, performing miracles, showing off in front of rabbis and otherwise being the embodiment of Christ in miniature form. That's great and all, but he's not exactly an interesting character. Instead he's every "the one," "the special," the superhero Metropolis needs," we've seen thousands of times before. I understand Jesus's tale is the granddaddy of all heroes journeys but this film approaches the source material with such a pitiful lack of imagination that Jesus doesn't feel like a messiah but an X-Man.

With a subject so revered by countless believers, I'm surprised just how painfully conventional Young Messiah is. The film is adapted from "Christ the Lord: Out of Egypt" written by Anne Rice who injects religious iconography into all her books with such regularity, that I'm surprised she's not a nun by now. Brought to moribund life by director Cyrus Nowrasteh, the cinematography and editing is film-school, senior thesis level atypical. There are some moments approaching the ethereal in the vein of music video expressionism, but then we're brought right back into the heavy- handed pandering that's become a hallmark of these kinds of movies.

The best thing that can be said about Young Messiah is at least it panders without fear-mongering or demonizing other groups. Movies like God's Not Dead (2014) and Left Behind (2014) preach with such bluster, that the only thing stopping them from being malignantly harmful is their amateurishness. I long for the day when we expect more from these kinds of movies other than them being benignly boring. It is possible, if you're willing to sit through rarefied gems like The Tree of Life (2011) or Au Hasard Balthazar (1966) or The Passion of Joan of Arc (1928). Otherwise you may just have to get your spiritual fulfillment watching your nephew's nativity play.