User Reviews

A psychological study of passion rather than a religious story is pictured on this film, although the Master, with the Apostles, is shown in some of the most important moments of His life. In exquisitely beautiful pictures, we see Him first preaching on a hillside, then at the triumphal entry into Jerusalem, then in the Garden of Gethsemane at the time of the Passion and, a little later, at the time of his arrest. We are also given a heart-rending picture of the Saviour in the distance, carrying the heavy cross up Golgotha. The story is an entirely hypothetical explanation of the reason for the treachery of the false apostle. There is a woman in the picture, Priscilla, who had fallen in love with Jesus and had been repulsed. Judas conceived a passion for her. For vengeance, she works on Judas, by a promise of her love, until he is ready to betray Jesus. The woman sees the progress of the Saviour with the cross up Golgotha and, overcome with repentance, climbs to the top and falls at the foot of the cross. We see three crosses, but only the feet are visible. The last scene shows Judas' hands tying the rope. We don't see him hang himself, but we see the rope tighten. The picture is very artistically done: almost all the scenes are full of poetry and very beautiful, especially that in which the Mount of Olives is shown; the pictorial balancing of this scene is perfect. The player who takes the part of the Saviour doesn't appear to be acting; his work is restrained, simple and reverent. He is never seen close to the camera; there is nothing whatever in his part that should offend. Judas and the woman are the only important figures that appear "close up." A great actor and actress were needed in these parts, but, as they are, they are very acceptable. - The Moving Picture World, November 4, 1911