The movie begins with the awakening of Renaissance citizens (individuals, families or groups) who, once clothed and fed, go around their daily business. Young siblings tease each other, woodsmen cut down a tree, a musician plays a tune. It is not long before atrocious violence rears its head : red-coated men grab a young peasant and whip and beat him unmercifully, before tying him to an execution wheel. His despairing wife crawls around the place of execution without obtaining help or solace. Slowly it becomes clear that the characters - violent or peaceful, young or old, bereft or happy - all share a common bond : they are closely connected to a painting called "The way to Calvary". This painting, celebrated for its deep insight and subtle symbolism, was made by Breughel the Elder.
In the painting, Breughel used the passion of Christ in order to explain and examine the horrors of his time, just as he used the horrors of his time in order to explain and examine the passion of Christ. Thus "The mill and the cross" is an exploration of at least three subjects. There's the torture and execution of Jesus Christ, as described by the New Testament ; there's the painting made by Breughel ; and there's the life of the painter, who was unlucky enough to live through some VERY interesting times, complete with war, tyranny, doctrinal schism and religious violence. In lesser hands this could have meant a complete muddle, but the movie succeeds in combining all of these elements into a cohesive and harmonious whole.
The movie is a feast for the eyes, thanks to a very innovative combination of computer-generated effects, painted backgrounds and hand-picked locations. (The costumes too are superb.) But it is first and foremost a meditation on religious, theological and moral themes. Which is as it should be...
I recommend the movie to everyone, even to readers who are not Catholic or Christian. The movie touches upon universal themes, such as the nature of Mankind's seemingly eternal capacity for mischief. (It is not a coincidence that some of the worst enormities are committed by followers of what is supposed to be a religion of peace and unity.) However, I would like to give you one advice and that is not to watch the movie in the company of a professional (art) historian. Breughel lived a long time ago and his work was drenched in a very subtle symbolism, meaning that it can be analyzed and reviewed "ad vitam aeternam". You, dear reader, don't want to hear a continuous comment on the 1001 alternative interpretations of the yellow frock on the left or the little dog on the right...
In the painting, Breughel used the passion of Christ in order to explain and examine the horrors of his time, just as he used the horrors of his time in order to explain and examine the passion of Christ. Thus "The mill and the cross" is an exploration of at least three subjects. There's the torture and execution of Jesus Christ, as described by the New Testament ; there's the painting made by Breughel ; and there's the life of the painter, who was unlucky enough to live through some VERY interesting times, complete with war, tyranny, doctrinal schism and religious violence. In lesser hands this could have meant a complete muddle, but the movie succeeds in combining all of these elements into a cohesive and harmonious whole.
The movie is a feast for the eyes, thanks to a very innovative combination of computer-generated effects, painted backgrounds and hand-picked locations. (The costumes too are superb.) But it is first and foremost a meditation on religious, theological and moral themes. Which is as it should be...
I recommend the movie to everyone, even to readers who are not Catholic or Christian. The movie touches upon universal themes, such as the nature of Mankind's seemingly eternal capacity for mischief. (It is not a coincidence that some of the worst enormities are committed by followers of what is supposed to be a religion of peace and unity.) However, I would like to give you one advice and that is not to watch the movie in the company of a professional (art) historian. Breughel lived a long time ago and his work was drenched in a very subtle symbolism, meaning that it can be analyzed and reviewed "ad vitam aeternam". You, dear reader, don't want to hear a continuous comment on the 1001 alternative interpretations of the yellow frock on the left or the little dog on the right...