we
begin our saddest stories.
Once
bitten. Once burned.
Once
in a blue moon. Once more
unto
the breach. We die a while
into
each other’s arms and are
reborn
like Lazarus, like Jesus.”— Dorianne Laux, “Error's Refuge,” published as part of
“Two Poems,” Oxford American, Fall
2015
George
Stevens’ The Greatest Story Ever Told
will undoubtedly be broadcast countless times this Easter Sunday. Though that is
not my favorite film about the life of Christ (that honor goes to Franco
Zeffirelli’s Jesus of Nazareth), it
does have one scene of such striking visual power that it throws the rest of the
movie (dominated by distracting cameos by the likes of John Wayne and Shelley
Winters) into sharp relief. It is the moment caught here, where Jesus commands his
dear friend Lazarus (who had died a few days before) to come out of his tomb.
The
appearance of Lazarus, it can be seen in this Renaissance-like tableau, has
social as well as obvious individual implications. Those on the spot are
stunned by what they have just seen, and their witnessing to the event will
make them all the more receptive, not too long later, to the idea that Jesus
himself could perform a similar miracle with Himself rising from the dead.
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