First released in 1976 and based on a book that had come out ten years previously, The Passover Plot is a film that asks, “What if Jesus was a political revolutionary who faked his own death?”
Even when the film was first released, that wasn’t a particularly novel or new theory. Ever since the Crucifixion, there have been conspiracy theorists who have claimed that the entire thing was staged. Indeed, the early days of the Church were defined by conflicts between different sects debating the true nature of Jesus, with those who believed that he was the son of God and that he had risen from the dead eventually winning out over sects who claimed that Jesus was not divine or that he had actually escaped from the Romans and was instead hiding out in Egypt or even on the island that would eventually become known as Britain. (The fact that so many Gnostics and other heretics were executed by the Church and their texts suppressed only served to lend them credibility with future theorists.) Still, every few decades, some new book or film will claim that Jesus faked his death or married Mary Magdalene and gullible people will act as if this is somehow a new argument. It’s been over 20 years since all of that Da Vinci Code nonsense convinced bored suburbanites across America that they could be experts on both boxed wine and historical conspiracy theories. We’re about due for a new version of the old story.
As for The Passover Plot, it features Zalman King as Yeshua of Nazareth, an angry young man who dreams of the day when Judea will be free of the Romans. Having a knowledge of the prophecies of a messiah and also knowing that he is descended from King David, Yeshua specifically patterns his life after the prophecies and presents himself as being not just another revolutionary but instead as being sent by God. However, he is also aware that it will be necessary for him to “die” and “rise from the dead,” so he goes out of his way to force the hand of Pontius Pilate (Donald Pleasence). Having seen plenty of crucifixions when younger, Yeshua arranges for the local revolutionaries to drug him so that he’ll appear to be dead. When he later wakes up, everyone will believe that he has returned from the dead. The film ends with several title cards, all arguing that the Gospels were written long after Yeshua’s death (“Mark lived in Italy!” one title card proclaims with almost comical indignation) and were subsequently rewritten by “unknown” hands.
The Passover Plot is a weird combination of biblical epic and conspiracy thriller. Scenes of Yeshua preaching feel as if they could have come from any traditional Biblical epic but they are awkwardly placed with scenes of Yeshua having secret, melodramatic meetings with various conspirators. It would make for an interesting contrast if not for the fact that the film itself is so slowly paced and boring. Zalman King, who is best-known for his subsequent career as a softcore filmmaker, spends a lot of time yelling and smoldering intensely but he still doesn’t have the charisma or screen presence necessary to be convincing in the role. In the scene were he’s meant to be passionate, he shrieks with such abandon that he makes Ted Neeley’s performance in Jesus Christ Superstar feel restrained. This film asks us to believe that people would not only abandon their previous lives to follow Yeshua but that they would also take part in an elaborate conspiracy that could have gone wrong at any time. For that to be believable, Yeshua needs to be played by someone who doesn’t come across like the drama student that everyone dreads having to do a scene with. Far more impressive is Donald Pleasence, whose portrayal of a ruthless and unfeeling Pilate is a marked contrast to some of the more sympathetic interpretations of the character that tend turn up in the movies.
On the plus side, the film does look good. It was shot on location in Israel and there is a certain authenticity to the film’s recreation of the ancient world. Along with Pleasence, character actors like Scott Wilson (as Judas!) and Dan Hedaya get a chance to shine. But otherwise, The Passover Plot is too slowly paced and kooky for its own good. Conspiracy theorists never seem to understand that the more elaborate a conspiracy theory becomes, the less convincing it is to anyone who isn’t already a true believer. In the end, how one feels about the film’s conclusions will probably be connected to how one already views Jesus and the Church. The Passover Plot is not a film that’s going to convince anyone who wasn’t already convinced.
14 Days of Paranoia:
Through the Shattered Lens 