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A bible, also known as a show bible or pitch bible, is a reference document used by screenwriters for information on characters, settings, and other elements of a television or film project.[1]

Other bibles are used as sales documents to help a television network or studio understand a series, and are sometimes given to new writers when they join the writing staff for the same reason.[2] These types of bibles discuss the backstories of the main characters and the history of the series' fictional universe.[2]

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Looking at film interpretations of the stories in the Bible - past, present and future, as well as preparation for a future work on Straub/Huillet's Moses und Aron and a few bits and pieces on biblical studies.

Labels (Titles) All Jesus Films Old Testament films New Testament films Labels by character My books/TV work

My 1st solo book (100 Bible Films (BFI) (2022)) Me in Print (Handbook to Jesus and Film (2021)) Me in Print (Bible Onscreen in the New Millennium (2020)) Me in Print (Companion to the Bible and Film (2018)) Me in Print (The Bible in Motion (2016)) Me on TV (The Passion: Films and Religion) Me on TV (The Passion: Films Faith and Fury) Me in Print ("Cut to the Chase") rejesus: Jesus in the Movies Bible Film PodcastFree Downloads "Jesus in Film" Course Notes 30 Film Jesus Film Scene Guide Spreadsheet Top 10 Jesus Films PodcastRelevant Links Codex Bible on Film Film Chat Herbert Verreth's Filmography Herv Dumont-L'Antiquit au Cinma NT Blog Pop Classics Variety Latest Film News Arts and Faith Discussion Forum Film IndexesIndex of Old Testament/Hebrew Bible Films Index of Jesus Films Index of New Testament Films Book Index Citation GuideEarlier Film Reviews Other 2006 Film Reviews Other 2005 Film Reviews Other 2004 Film Reviews

About Me I've studying the Bible on Film for twenty years, with my first book "100 Bible Films" (BFI) came out in May 2022. I've also contributing to various edited works including "T&T Clark Handbook to Jesus and Film" (2021), "The Bible Onscreen in the New Millennium", "The T&T Clark Companion to the Bible and Film" (2018) and "The Bible in Motion" (2016). I have also written for various other publications including rejesus.

More generally I've given a number of talks / led through groups on Jesus in Film and was a consultant for the Channel 4 documentary The Passion : Films, Faith and Fury.

Sunday, December 31, 2023 Journey to Bethlehem (2023) I was in the middle of teaching my "Italian [Cinema] for Beginners" course when I got to see this, which on top of various other commitments (such as the day job) all rather piled up. So unfortunately, now not only is it also several weeks after this film's limited cinematic run, but I'm still going to have to settle for an "initial impressions" type post rather than something approaching a proper review. Apologies, then, if my recollection is a little sketchy.

Journey to Bethlehem is the first Bible film to get a wide-ish release in the UK since I finished writing my book at the end of 2020. In that time The Chosen has taken over the world; its parent company Angel Studios have debuted a few other biblical films which have only really screened in the US; and Jeymes Samuel has debuted The Book of Clarence at London Film Festival, even though it doesn't go on general release until January. So it was nice to be in a cinema seeing any kind of Bible film, but particularly a Nativity-themed one as I've had a soft spot for them ever since having a chapter on recent incarnations published a few years ago.

Tonally, Journey to Bethlehem is very different from the most widely seen live action nativity movie, Catherine Hardwicke's 2006 The Nativity Story. The start of Hardwicke's movie tried to present an authentic context for the story: houses were ramshackle; clothing was plain and rough looking; the food and way of life appeared primitive. There was love, life and joy, though it's perhaps fair to say that Hardwicke's attention to detail did not always equate to historical accuracy, and that the movie strayed to become more schmaltzy as the film went on.

Yet for all that, Hardwicke's film certainly seems to have been an influence. Particularly in the early scenes, several of the shots and compositions echo Hardwicke's despite the sharp contrast in styles. Shots of Mary and her friends running in the open spaces around the village, or the lighting and tight compositions inside Mary's family home. Then there's both film's use of the Magi/wise men for comic relief. British viewers will enjoy seeing Omid Djalili (The Infidel) and Rizwan Manji (The Dictator) as Melchior and Gaspar respectively and they are funnier than their slightly lame counterparts in the earlier film.

Another similar element to Hardwicke's film is the way it uses King Herod, played with great enthusiasm by a slightly over the top Antonio Banderas, this film's biggest star. In both movies he is set-up as the primary antagonist and features early in the film to add a sort of framing narrative to the events that will unfold.

While most of the characters are given significantly expanded roles from their counterparts in the Gospels, Antipater most benefits from this as his character is not even in the Bible. I can't help wondering if the use of the name Antipater is connected to one of Herod's more famous (surviving!) sons Antipas, who is the Herod who kills John the Baptist in Matthew's Gospel and tries Jesus in Luke's Gospel. Is this possible conflation deliberate? Antipater here is played by Joel Smallbone, one half of Australian Christian pop duo For King + Country along with his brother, and starred as Xerxes in the 2013 film The Book of Esther.

These points of comparison are hardly surprising. Anders made his name as a writer/producer for the music on High School Musical 3 (2008) and the TV series Glee (2009-2015) as well as working on films such as Hannah Montanna (20012) and Captain Underpants (2017). Indeed he has been nominated for for Grammy's for his work on Glee and other productions. So one would naturally expect Journey to be very youth-orientated. It's both firmly in line with the modern pop-musical, created by an experienced practitioner, and family friendly as befits this kind of Christmas movie. At the same time the translation of that niche into a first-century climate in an arid climate leaves the lively, swirling choreography of "Mary's Getting Married" feeling as close to Bollywood as to Hollywood.

As such it makes for a pretty decent piece of entertainment that celebrates the story of the first Christmas and honours the original while repackaging it for a contemporary audience in a way that is rarely achieved. Strangely while I love the opening scenes of The Nativity Story, I think I prefer Journey to Bethlehem overall. At least I might find myself more likely to recommend it. Somehow the fact that it is more consistent makes all the difference. Adam Anders knows the kind of film he is trying to make, goes all out for it and delivers a far better movie than I was expecting.

Indeed there's such an obvious sense of (if you'll pardon the pun) glee in Anders's handling of the material, particularly given the movie's high production values.3 It's his first feature film as director and his joy at being able to step out of others' shadows and make the film he wants to is palpable. You really get a sense of his love of colour, his costumes; the energetic way he moves and spins his camera to enhance the choreography, combining drone footage with zooms and pans and close-ups; the moments he stops to show off the landscapes of his chosen locations. This feels every inch like a labour of love and it's hard not to get caught up in such obvious enthusiasm.

Other Bible movies and shows fared less well. Perhaps the biggest surprise was the lowly 1,800,000 hours spent watching Monty Python's Life of Brian (6259th). I'm not sure whether this shows that the film is far less popular overseas than it is in the UK, or that fewer of its traditional fan-base are watching it than before due to it playing the trans character for laughs, or perhaps both. Paul the Apostle of Christ (2018) had 200,000 hours, leaving it at 12,061st place and Davis's Mary Magdalene came in 16,337th and Youssef Chahine's The Emigrant came in at 17,457th despite both gaining 100,000 hours viewed.

I'm writing on, reading about and teaching on Italian cinema at the moment and have a session on the 1950s peplum films in a few weeks, so I thought it was time I watched Gianfranco Parolini's Sansone (Samson, 1961) as I've never seen it before. It was a film that I had looked into a little when I was compiling my book, but couldn't remember all the specifics of why I decided to include I grandi condottieri (Samson and Gideon, 1965). It was practically the only film to cover the story of Gideon and that was all I remembered.

Turns out that another big factor is that, despite the title, Parolini's Samson has nothing, really, to do with the biblical strongman, aside from the characters' mythical super-strength. As I mentioned in my list of films "about" Samson many of the Italian-produced Samson films from this era "have very little to do with the Book of Judges".

So in fact the film has nothing really to do with the biblical story. There's no Delilah, lion-wrestling, woman from Timnah, honey riddle or jawbone of an ass, or even a mention of God or the Israelites, just a super-strength hero running around in little more than his underpants. e24fc04721