JOURNEY TO BETHLEHEM. US, 2023. Starring Fiona Palomo, Milo Manheim, Antonio Banderas, Joel Smallbone, Geno Segers, Omid Djalili, Rizwan Manji, Moriah, Stephanie Gil, Lecrae. Directed by Adam Anders. 99 minutes. Rated PG (Mark of themes).
A musical version of the experiences of Mary and Joseph in Nazareth, the journey to Bethlehem and the birth of Jesus. More than 50 years ago, Jesus Christ Superstar was a musical version of the last days of Jesus. However, Journey to Bethlehem is not quite in this vein. It is not a rock musical, nor is it the equivalent of a Broadway musical. Rather, it takes the main aspects of the Infancy narratives of Matthew and Luke, noting at the end that it has taken some liberties with the drama, and offers the opportunity for the main characters to sing some easily pleasant, but no outstanding, songs. There are some touches of tradition as a young woman who accompanies the Magi does sing one of the traditional advent hymns, ‘O Come, O Come, Emmanuel’, and at the birth of Jesus, sings ‘Silent Night’. And the atmosphere during the final credits is an enthusiastic rendition of the traditional, ‘Go Tell It on the Mountain’.
A word that comes to mind as we watch this Gospel musical is ‘pantomime’, although underlying it all, of course, are the serious themes of Mary, the Annunciation, the role of Joseph, the birth of Jesus in Bethlehem, the persecution by Herod.
Palomo is charming as a strong-minded Mary, trained in the Scriptures by her father and desirous of being a teacher, but an arranged marriage is set up – and then, pantomime glitter and echoes of Superstar with the initially bumbling but then glitzy appearance of Angel Gabriel. Joseph is suitably bewildered, likes Mary, and adjusts to the situation.
However, at various times, there is some pantomime overacting, especially on the part of Antonio Cantos as Mary’s father Joachim, and with British comedian Djalili as one of the Magi clowning around. Then, on the other side of humour, there are the pantomime villains, especially Banderas as Herod. Not particularly the Great, but scowling and scheming, intimidating and threatening, jumping and chewing on his songs. And, one of the main targets of his domination is his son, Antipater (Smallbone).
In fact, for an audience familiar with the story, accepting its light touch, the character of Herod Antipater, soldier, dominated by his father, wanting independence, unexpectedly crucial in terms of aiding and abetting the flight into Egypt, is the most interesting dramatic development. And, for those who remember his later role in the Gospels, fascinated by John the Baptist, arresting him, executing him because of his promise to his dancing stepdaughter, and, of course, featuring in Superstar (‘walk across my swimming pool’), this portrayal is quite unexpected.
The appeal for this kind of film is obviously for a Christian family audience and church groups. And, with the easy tunes and lyrics, it is one of those musicals that may well appeal to school groups to stage.
Sony/ Heritage Films
Released 30 November