Jill-68

....I have found even more layers to this film upon rewatching it, than I did in my first review. Here are MY list of characters (and I'm free to change my mind.....just like Tom Friend did): Jack Fate = Jesus Christ (he is one and the same as his twin brother Edward, who died in a hunting accident and never came back); Tom Friend = Bob Dylan (the 'reporter' who rants and yells questions at Jesus, demanding answers); Pagan Lace representative of Dylan's fans from the Sixties; The Editor = representative of the folk music establishment and/or record producers; Uncle Sweetheart the United States, hiding behind the Cross and/or Protestant Evangelists; Nina Veronica = Judas and/or Israel; Bobby Cupid = St. Peter; the Mistress the Church; Oscar Vogel = Satan; Animal Wrangler = Ancient Jewish Priest; Edmund = representative of all mankind (his parents symbolize Adam and Eve); the President = God the Father; the Soldier = representative of Christian Martyrdom; the Drunk = the churchgoer. All of my conclusions are based on the dialogue in the film, or by the character's actions. There is nothing haphazard or hit-and-miss in this film at all. And I haven't even touched on the signs in the film, the missing letters from them, or the frequent use of numbers. If you ever find yourself stuck at home on a rainy day with the idea you're going to be staring at the boob tube all afternoon........go out and rent this film and watch it instead. Then, just when you go, 'Of course, it makes so much sense now'.....watch it again.

I have read all of the comments posted here, and no one has seen this film as I myself did. Of course, I could be way off-base.......but for me this film did a much better job of portraying the Gospel of Jesus than "The Passion of The Christ" (a film I didn't care for at all). The symbolism is everywhere: Jack Fate's mother's name is Mary. When Angela Bassett says something about 'waiting for him to return' the camera shows the fireplace with a metal cross in front of it. When Jack Fate is asked if he will be back (by Cheech Marin), he states "I've been back." His dying father is behind a curtain (the curtain that was in front of the altar in the ancient Jewish temple). Mickey Rourke is the devil that wants to rule the world. Luke Wilson is Peter (defending Jack Fate the way Peter cut off a guard's ear in the Garden of Gethsemane......then fleeing). Jeff Bridges is the archetype for the Pharisees, with all the trick questions they placed to Jesus. Jack Fate is silent, like a lamb led to the slaughter, knowing that his words will not make a bit of difference anyway (notice the scapegoat in Val Kilmer's animal menangerie, along with the sacrificial lamb.....er, Easter bunny....). Jeff Bridges's girlfriend represents the devout Jews, with their rituals and prayers, who weeps when the Law (represented by Jeff Bridges) is no more. Jeff Goodman may represent Christianity today (not a pretty picture, is it?). The religious symbolism is in every frame, every line of dialogue throughout this film. I disagree with the critics who feel that this movie was thrown together in a haphazard fashion. Instead, I feel every scene has tremendous meaning (little girl singing to Jack Fate.....ah, let the little ones come unto me. Whoever does not receive the kingdom of God as a little child will never enter it).

Then again, maybe it's just about Dylan.

I absolutely loved this film. But I also absolutely loved the comments by Philip Davies (keep scrolling down this webpage until you come to his most intelligent and scathing review of this film).

I enjoyed the film because I felt it was good old-fashioned storytelling. Two strangers come to town, and it ends up being the biggest week of their lives. There are obstacles and struggles, humor and pathos, young people falling in love, old people finding their purpose in life at last, and wounded people becoming whole again. All in a few day's work. Plus I identified with the two Englishmen who couldn't get out of town. How many times have I been to a metaphorical train station only to have some bureaucrat say "Trains? What trains? There are no trains here."