This is a story of unparalleled substance told with unprecedented style.Perhaps the most powerful—and violent—depiction of Christ’s final earthly hours ever put to film, The Passion of the Christ begins with Jesus’ tormented prayer in the Garden of Gethsemane and ends with a glimpse of his resurrection. It marches unflinchingly through the suffering and death Christ endured on our behalf,using flashbacks to relieve tension and offer insight into his humanity.

本影片的故事依据无与伦比的事实，以前所未有的风格呈现出来。也许这是迄今为止，在电影屏幕上对基督在世上最后几个小时的生活，所作的最有力和暴力的描写。《耶稣受难记》以耶稣在客西马尼园极度痛苦的祷告开始，以祂的复活一幕作为结束。电影毫不妥协地逐一展现了耶稣基督代替我们而忍受的苦难和死亡，并且用闪回的方式缓解其中的张力，使人得以洞见祂的人性。

By its very nature, the "good news" of the gospel is the most positive message any filmmaker could ever articulate. Director Mel Gibson does it well. The love and single-minded passion of Jesus Christ shines through.Reverent highlights from his life provide added context to his fulfillment of the Isaiah 53 prophecy at Calvary. For example, as an arrested Jesus watches a carpenter plying his trade, he recalls carefree days of crafting furniture in Nazareth (this includes a sweet, playful scene with Mary). 

从影片的本质来讲，极力宣扬福音的“好消息”，达到了电影制作人所能达到的最高峰。导演梅尔·吉布森做得非常好。耶稣基督的爱，以及祂专一定意的受难过程在电影当中都发出耀眼的光芒。他一生中敬虔的重要片断，为他在加略山上应验以赛亚书53章的预言提供了补充背景。比如，耶稣被捕后看到一个木匠在做工，祂回忆起自己在拿撒勒无忧无虑制作家具的日子（包括与马利亚在一起温馨、欢乐的场景）。

Peter denies him, and we jump to the moment when the bombastic apostle vows his allegiance unto death. A glimpse of Pilate’s water bowl launches a memory of the Lord washing his disciples’ feet in the upper room. As nails penetrate Christ’s palms, the film cuts back to Jesus saying, "I am the way, the truth and the life."

彼得否认祂的时候，我们就看到这位夸下海口的门徒，曾经信誓旦旦地说至死也要跟随祂的时刻。彼拉多洗手盆的一幕，引出主在马可楼上为门徒们洗脚的回忆。当钉子穿过基督的手掌时，影片切回到耶稣说：“我就是道路、真理和生命”的场景。

Even more stirring is the stark transition from Jesus’ scorned march down the Via Dolorosa to images from his triumphal entry into Jerusalem on Palm Sunday. Then there’s the flash from the removal of Christ’s robe at Golgotha to the unwrapping of the bread during the Last Supper ("This is my body, which is broken for you"). All examples of powerful symbolism made emotionally poignant by their cinematic treatment.

更激动人心的巨大转变是，镜头从耶稣在辱骂声中行进在十字架的苦路上，切换到祂在棕枝主日荣入耶路撒冷的情景。还有在各各他基督的衣服被人脱去的场景，闪回到祂与门徒们在最后的晚餐时擘饼的场景（“这是我的身体，为你们舍的”路加福音22:19）。所有电影片断强有力的象征意义，经过电影艺术的加工，在情感上得到深入地刻画。

The filmmakers spend a lot of time with the man commanded to carry Christ’s cross when the weight becomes too much for him. Much of that interaction is speculation, but the prevailing point is that those who carry his cross are forever changed. Mary, John and Mary Magdalene remain by the Lord’s side until the bitter end, an amazing display of loyalty.

当十字架的重量对于耶稣来说太过沉重的时候，有个人被命令去帮祂背负十字架，影片制作人给了那个人很长时间的一段镜头。虽然他与耶稣的互动大多都是在思索，但是普遍的观点是，那些背负祂的十字架的人都永远地被改变了。马利亚，约翰和抹大拉的马利亚一直都在主的身边，直到痛苦的结束，展现出惊人的忠诚。

The movie’s prevailing tone is one of respect and adoration for Jesus Christ. It’s not excessively preachy, yet it never downplays the eternal significance of his identity and actions.

影片的基调，主要是表达对耶稣基督的尊敬和爱慕。虽然它并没有过分地说教，但是对于祂的身份和作为的永恒意义却从未淡化。

Everything about Jesus is spiritual, and the depiction of his suffering,death and resurrection is inherently a spiritual one. "I’m not a preacher,and I’m not a pastor," Gibson said. "But I really feel my career was leading me to make this [movie]. The Holy Ghost was working through me on this film, and I was just directing traffic. I hope the film has the power to evangelize.… Everyone who worked on this movie was changed. There were agnostics and Muslims on set converting to Christianity."

所有关于耶稣的事情都是属灵的，对于祂的受苦、受死和复活的描述本身就具有属灵意义。“我不是传道人，也不是牧师，” 吉布森说，“但是我真的感受到我的职业引导我去制作了这部电影。在拍摄影片的过程中，圣灵透过我工作，我只是照做而已。我希望这个电影有传福音的力量······每个参与这部影片的工作人员都被改变了。现场有不可知论者和穆斯林转变成为基督徒。”

Additionally, several scenes deal directly with supernatural issues.Judas’ spiritual/psychological struggle finds him plagued by demons disguised as children (one draws blood when he bites Judas’ arm). Satan is very effectively portrayed as an androgynous, cloaked figure who drifts through certain scenes in an attempt to convince Christ to surrender his mission(during his anxiety in Gethsemane, his whipping, etc.). The Devil also looks on as Judas slowly succumbs to the temptation of suicide. At one point the creepy presence holds an ugly "baby." Later, as if from the pit of hell, it screams when Jesus dies. A flashback overhears Jesus preparing his disciples for the arrival of the Holy Spirit, as well as a persecutor. It’s implied that the Spirit makes an appearance in the form of a dove just before Jesus’ torture begins.

另外，有些场面真接地展示了超自然的情景。犹大在属灵/心理上的挣扎，表现在他被伪装成孩子们的魔鬼所搅扰（其中一个孩子把犹大的胳膊咬出了血）。撒旦被有力地描绘成一个雌雄同体、穿着斗蓬的形象，牠游走于某些场景之中，试图说服耶稣放弃祂的使命（当耶稣在客西马尼园焦虑，以及遭受鞭打等时候）。当犹大慢慢地被自杀的试探所压垮时，魔鬼也在旁边观看。面目可憎的撒旦还一度抱着一个丑陋的“婴儿”。后来，当耶稣死亡的时候，它竟然发出仿佛从地狱的坑中所传来的尖叫声。一个闪回的镜头使人们听到耶稣正在预备祂的门徒，要他们迎接圣灵以及逼迫的到来。就在耶稣遭受痛苦折磨之前，影片中以鸽子的形象暗示了圣灵的出场。