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The Gospel According to St. Matthew (Italian: Il vangelo secondo Matteo) is a 1964 epic biblical drama film, written and directed by Pier Paolo Pasolini.It is a cinematic rendition of the story of Jesus according to the Gospel of Matthew, from the Nativity through the Resurrection.
The Gospel According to St. Matthew may refer to: Gospel of Matthew , one of the four Gospel accounts of the New Testament in the Bible The Gospel According to St. Matthew (film) (Italian: Il Vangelo secondo Matteo ), a 1964 Italian film based on the Gospel, directed by Pier Paolo Pasolini
The Gospel According to St. Matthew: The Gospel of Matthew. Won the Silver Lion at the 25th Venice International Film Festival, United Nations Award at the 21st British Academy Film Awards. 1966 Uccellacci e uccellini: The Hawks and the Sparrows: 1967 Edipo re: Oedipus Rex: Oedipus Rex by Sophocles. Acted in the film as High Priest 1968 Teorema ...
These include Pasolini’s ”Uccellacci et Uccellini ” ( ”The Hawks and the Sparrows ,” 1966) and “ Il Vangelo Secondo Matteo” (“ The Gospel According to St Matthew ,” 1964) and ...
Enrique Irazoqui (5 July 1944 – 16 September 2020) was a Spanish professor of literature, computer chess expert and actor, best known for his role as Jesus Christ in the 1964 film The Gospel According to St. Matthew, directed by Pier Paolo Pasolini. He was 19 when he played the lead role in Pasolini's film and only had a small number of ...
First cast in a non-speaking role in the film Il vangelo secondo Matteo (The Gospel According to St. Matthew, 1964), Davoli played mostly comical-naïve roles in several more of Pasolini's films, the last of which was Il fiore delle Mille e una Notte (A Thousand and One Nights/Arabian Nights, 1974).
The title of “Forgive Them Father” comes from Jesus pleading with God to forgive the Hebrews and Romans who ridiculed him as he was being crucified.
[5] Perhaps the best-known of Pasolini's films to English-speaking audiences is The Gospel According to Saint Matthew (1964), now considered a masterpiece by many critics. [6] [7] Nowell-Smith writes of the editing that "large sections of the film do not even bother to respect continuity, let alone to pay obeisance to it. ... Each shot simply ...
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