Jesus Of Nazareth Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

The storyline of Jesus of Nazareth is a kind of cinematic Diatessaron, or "Gospel harmony", blending the narratives of all four New Testament accounts. It takes a fairly naturalistic approach, de-emphasising special effects when miracles are depicted and presenting Jesus as more or less evenly divine and human. The familiar Christian episodes are presented chronologically: the betrothal, and later marriage, of Mary and Joseph; the Annunciation; the Visitation; the circumcision of John the Baptist; the Nativity of Jesus; the visit of the Magi; the circumcision of Jesus; the Census of Quirinius; the flight into Egypt and Massacre of the Innocents; the Finding in the Temple; the Baptism of Jesus.

Jesus tells his followers that the law of Moses is not a "dead stone," but subject to change. Other episodes in the movie include the woman caught in adultery; Jesus helping Peter catch the fish; the Parable of the Prodigal Son (Luke 15: 11-32); a dialogue between Jesus and Barabbas (non-biblical); Matthew's dinner party; the Sermon on the Mount; debating with Joseph of Arimathea; the curing of the blind man at the pool; the Raising of Lazarus (John 11:43); the Feeding of the Five Thousand; the Entry into Jerusalem; Jesus and the money changers; Parable of the Two Sons; healing the centurion's servant; dialogue with Nicodemus; the Last Supper; the betrayal of Jesus by Judas.

At the Sanhedrin trial of Jesus, Jesus is accused of blasphemy for calling himself the son of the God of Israel. Caiaphas announces "the LORD our God, the LORD is one" denying the God of Israel has a Son. The ensuing scenes include Peter denying Christ and repenting of it; the judgment of Jesus by Pilate ("Ecce Homo"); the Johannine Passion Narrative (John 18-19; including the Agony in the Garden); the Carrying of the Cross; the Crucifixion of Christ (Laurence Olivier's Nicodemus recites the "Suffering Servant" passage as he looks helplessly on the crucified Messiah); the discovery of the empty tomb; and an appearance of the Risen Christ to his Disciples. The film’s storyline concludes with the non-Biblical character Zerah and his colleagues gazing despairingly into the empty tomb. Zerah laments "Now it begins. It all begins".

Starring

• Robert Powell as Jesus

Guest Stars

And

• Olivia Hussey as Mary, mother of Jesus

Also Starring

• Cyril Cusack as Yehuda
• Ian Holm as Zerah
• Yorgo Voyagis as Joseph

With

• Ian Bannen as Amos
• Marina Berti as Elizabeth
• Regina Bianchi as Anne, mother of Mary
• Maria Carta as Martha
• Lee Montague as Habbukuk
• Renato Rascel as The Blind Man
• Oliver Tobias as Joel

Co-Starring

As of February, 2018, Robert Powell, Olivia Hussey, Yorgo Voyagis, Tony Lo Bianco, John Duttine, Ian McShane, Christopher Plummer, James Earl Jones, Michael York, Stacy Keach, Ian Holm, Claudia Cardinale and Valentina Cortese are the only surviving main cast members.

The miniseries was conceived when Lew Grade was received by Pope Paul VI, who congratulated him on the making of Moses the Lawgiver (1974), a television film starring Burt Lancaster and which was produced by Grade's ITC Entertainment and the Italian television network RAI. At the end of the interview, the Pope told him he hoped his next project would be about the life of Jesus. Two weeks later, while dining with an RAI executive, Grade told him he intended their companies to prepare such a film. The role of director was offered to Franco Zeffirelli - a religious Roman Catholic who knew the Pontiff from his days as the Archbishop of Milan, when he often visited Zeffirelli's school - on the Pope's initiative, who insisted that either he would make Jesus of Nazareth or no one else. The director rejected the proposal at first, but Grade finally convinced him to agree; he accepted the job shortly before Christmas 1973.

Scriptwriter Anthony Burgess later recounted the launching of the project in an essay entitled "Telejesus (or Mediachrist)":

The notion of making a six-hour television film on the life of Jesus Christ was proposed by an enobled British Jew, with the golden blessing of an American automobile corporation. The project struck some as blasphemous, others as ecumenical. Lord Grade, who was then Sir Lew Grade, presided over a massive press conference in the Holy City, (Rome), and said all that was available to be said — namely, that there would be this film, that Zeffirelli would direct it, and that Burgess would write it. Fired by this announcement, the Romans laid on a great, as it were, First Supper, which the Chief Rabbi of Rome attended, as well as various cricket-playing British ecclesiastics. Sir Lew Grade was made a Cavaliere of the Republic. The Pope was noticeably absent.

Both Grade and Zeffirelli insisted their adaptation of Jesus' life should be 'ecumenical', coherent, even to non-believers, and 'acceptable to all denominations'. To ensure the film's accuracy, the producers consulted experts from the Vatican, the Leo Baeck Rabbinical College of London, and the Koranic School at Meknes, Morocco. However, when Zeffirelli asked Rabbi Albert Friedlander to help him create Jesus' Bar Mitzvah scene, the latter replied that such ceremonies were practiced only from the 15th century. The director, however, insisted on including it, and Friedlander tried to teach child actor Lorenzo Monet to read a short portion of the Pentateuch in Hebrew. Monet, however, mumbled it and the director was not satisfied (in the film, boy Jesus reads mostly in English).

Principal photography was carried out in Morocco and Tunisia from September 1975 to May 1976. The synagogue scenes were shot with extras from the Jewish community in the island of Djerba. The city of Monastir served as 1st Century Jerusalem. Ernest Borgnine, who portrayed Cornelius the Centurion, recalled that since regulations required hiring local extras—most with poor English—for many of the smaller roles, they had to be dubbed. Zeffirelli decided to avoid recording sound altogether in many parts, and simply send the principal actors to dub their own characters in the studio later. The standing sets of the film were later used by the British comedy troupe Monty Python for their religious satire Life of Brian (1979).

There are various reports regarding the size of the miniseries' budget: Presbyterian Survey stated it was $12 million, The Listener cited the figure of £9 million (roughly $16 million), while Third Way stated it cost £11.5 million (roughly $20 million). Other sources give the sum of $18 million. In his autobiography, Lew Grade wrote that "in the final accounting, Jesus of Nazareth took $45 million."

Powell's portrayal of Jesus

The producers at first considered choosing a well-known star, who would draw a large audience, for the role of Christ. The first actor thought of was Dustin Hoffman, and Al Pacino was also a candidate. However, the filmmakers feared that their looks would not match the popular perception of Jesus held by the American public. Eventually, the character's North European appearance in the series was influenced by Warner Sallman's famous Head of Christ: Paul Harvey and Edward J. Blum wrote the show 'put Sallman's imagination in motion'. The Virgin Mary, too, was depicted "without regard to historical or ethnographic accuracy" by the "definitely Caucasian Olivia Hussey."

The idea to cast Robert Powell originated with Lew Grade's wife, Kathie Moody, who told her husband the actor had 'wonderful blue eyes' after watching him perform in a BBC television adaptation of Jude the Obscure. Powell came under severe criticism from religious groups for 'living in sin' with his companion, dancer Barbara Lord of Pan's People, while intending to portray Jesus. The couple married shortly before production began.

Powell rarely blinks throughout the entire film, mimicking, in this respect, H.B. Warner in 1927's The King of Kings and Max von Sydow in 1965's The Greatest Story Ever Told. This effect was a deliberate decision by Franco Zeffirelli. James Houlden commented that the result was 'a penetrating, unrelenting eye contact with Jesus'. A dark blue eyeliner was applied on set to accentuate Powell's blue eyes. Powell's portrayal has since become an often-used image in popular devotional art, and 'defined the visual image of Christ in the minds of the audience... Perhaps more than any other Jesus film.'

For the crucifixion scene, Powell starved himself on a diet of only cheese for 12 days prior to shooting "in order to look worn".<ref?</ref>