King of Kings (1961) Revisited
And herein lies the basis of Ray’s gospel: Jesus is a messiah of peace that stands in opposition to all this power and violence. Perhaps this is why there is a such a preponderance of low angle shots in this film, stressing the towering magnitude of the Roman Empire and the lowly humble path Jesus and his followers will undertake. The camera often gazes up at the authorities in this film, but down on Jesus, most notably of course in that camera-attached-to-the-top-of-the-cross shot that is so very reminiscent of Dali’s famous painting. That said there are exceptions in both directions: the Sermon on the Mount often captures Jesus from below, but when Salome asks Herod for John the Baptist’s head, we get a high overhead God shot, a reminder that what goes on in the private quarters of the powerful and wealthy is still seen and judged by the god who sees everything.