nativity story

The Nativity Story

U.S. Release Date: 12/1/06
Running Time: 1:35
Rated: PG (violence)

Cast: Keisha Castle-Hughes, Oscar Issac, Hiam Abbass, Shaul Toub, Alexander Siddig, Shohreh Agdashloo, Ciaran Hinds

Director: Catherine Hardwicke

Producer: Tim Van Rellim
Screenplay: Mike Rich
Music: Mychael Danna
Studio: New Line Cinema

The Nativity Story tells the tale of the birth of Jesus with powerful force and professional cinematography. Yet, the story itself moves at the pace of a camel and exists without conflict. One should wonder why no other film has been widely released on the subject matter; it’s because either viewed or read, the storyline remains the same—inspiring, but not justly cinematic. Even though the plot is hailed as the “Greatest Story Ever Told,” unfortunately the same cannot be said for the celluloid.

After Joseph (Oscar Isaac) is chosen for her as her husband-to-be, Mary (Keisha Castle-Hughes) is visited by the Angel Gabriel (Alexander Siddiq) and informed that she will birth the Son of God. She is also told that his name will be Jesus.

Mary flees to the house of Elizabeth (Shohreh Aghdashloo) and Zechariah (Stanley Townsend) to confirm the truth of the prophecy. When she returns home to Joseph and her family, all are stunned to see Mary pregnant. After initially renouncing Mary’s explanation, Joseph dreams of Gabriel and is informed of Jesus.

Knowing that they are to raise the fruit of the Lord, both Mary and Joseph begin to doubt their qualifications. “Why me? I am nothing,” says Mary, while Joseph says, “I wonder if I will be able to teach Him [Jesus] anything.” Meanwhile, King Herod (Ciarán Hinds) seeks the “King of Kings,” and the three wise men travel from afar.

The primary focus of The Nativity Story, aside from the Virgin Birth, is the relationship of Mary and Joseph. The bond between the chosen mother and the earthly father begins as non-existent and becomes one of deep love and trust. The side plots of King Herod, the three wise men (who play the film’s wisecracks), and Mary’s family are largely uneventful, yet necessary in assisting the closeness of the main couple.

As far as gripes are concerned, a handful can easily be pointed out. First, there is the obvious discredit due to the choice of tongues. When a film of this nature features Middle Easterners who speak more English than Hebrew/Aramaic, the quality of the screenplay is immediately dulled. To prove case and point, Mel Gibson got it right – playing the authentic card – with The Passion of the Christ.

Second, one could say that The Nativity Story is nothing more than an attempt to ride the coattails of the immensely successful The Passion of the Christ. But, in all actuality, The Nativity Story doesn’t come close in terms of the quality and the potential for revenue. Nativity is a prime example of Hollywood’s greed to sell seats without first considering the overall production value.

Third, the editing is choppy and sudden. For instance, random scenes of animal sacrifice and crucifixions are intermittently inserted. Last, the picture’s impact isn’t as high and mighty as it could have been. The climax (manger scene) is the film’s highlight and highpoint, but it leaves viewers wishing for what came before to be as equally dramatic.

While The Nativity Story is, in principal, an honest take on the Biblical account of the blessed events leading up to birth of Jesus, it undershoots expectations. Conversely, the film strikes a few chords with lines like, “We each get one gift,” “He is for all mankind,” and “God made into flesh.” It is honorable, but not necessarily remarkable nor memorable. Nonetheless, despite its cinematic faults, The Nativity Story is a moving story that reminds all that the true meaning of Christmas is found in the first six letters of the word.