The Miracle Maker is a full-length feature film from S4C using visually-stunning animation design. An epic co-production by award-winning crews in Wales and Moscow, featuring character voices from a star cast, The Miracle Maker is a fresh interpretation of one of the world’s best-known stories.

Set in first-century Israel, a sick young girl, Tamar (Rebecca Callard), her synagogue-leader father Jairus (William Hurt), and her desperate mother (Julie Christie), encounter the strangely compelling carpenter and preacher, Jesus (Ralph Fiennes). The story follows them as Jesus draws together a band of followers, confronts corrupt authority and heals the sick before facing the terrible end-game of his mission.

Set in Israel in the year 30 AD, the story begins with the chance encounter between a sick young girl Tamar, her Pharisee father Jairus and the quietly resolute carpenter Jesus.

Tamar becomes one of the growing number of followers fascinated by the spiritual strength and leadership of this charismatic man, but her father and other people in authority are troubled by Jesus’ ability to inspire the people. Plotting against him, the rich and powerful Ben Azra stirs up the authorities. While Jesus shocks the leaders by healing the crazed woman Mary Magdalene, Jairus knows he could ask Jesus to save his dying daughter, as his wife Rachel begs him to do.

The unstoppable conflict between belief and authority comes to a head when the great pilgrimage reaches Jerusalem in a confrontation between the power of God and the power of Rome.

Editorial Reviews

Amazon.com
This animated feature-length life of Jesus boasts a stellar pedigree. Originally a BBC: Wales production, it showcases the voices of some of Britain's finest actors in any medium: Ralph Fiennes as a brooding and humble Jesus, Miranda Richardson as Mary Magdalene, Richard E. Grant as John the Baptist, and David Thewlis as Judas. The lovely, flute-heavy score is by Oscar winner Anne Dudley (The Full Monty). And clearly a lot of expense has gone into the Claymation-like animation. But while it's hard to find fault with the rendering of this familiar story--it's respectful and definitely done, you might say, by the Book--it would have been nice if there had been a tad more joy, if it walked a bit lighter in its sandals. As it is, all the characters seem consistently subdued, whether they're expressing angst, rage, terror, or bliss--none of which is helped by the figures' blank-eyed stares (if animators are becoming ever more sophisticated, why can't they get rid of those creepy Charlie McCarthy gazes once and for all?). Still, the weight of having such formidable actors play these familiar roles lends the production a certain credibility, and parents looking for good religious videos that won't insult their kids' intelligence will be thrilled. --Anne Hurley

a user review:

Magnificent, Miraculous, Mesmerizing!, April 26, 2003

Reviewer: Ann Marie Laws from Fresno, CA United States
This is a beautiful film that you'll enjoy watching again and again. I'm touched every time I watch it. Very authentic and accurate. It effectively mixes 3D modeling (literally models with an armature inside to allow for posing) and animation. The models used are 12 inches tall and appear life-like on film because they're adjusted 24 times for every second of film (see DVD insert). Employing predominantly this 3D-modeling, the film uses animation to depict such scenes as the wilderness temptation of the Lord Jesus and His post-resurrection interaction with disciples on the road to Emmaus, as well as the parables such as the Wise Man and the Foolish Man.

Ralph Fiennes speaks the part of Jesus. I like that an unfamiliar voice (at least to me) was used. Far better to choose Fiennes than someone with a voice we've all heard in other movies (like Michael J. Fox of Stuart Little, or some other famous actor). The story of Jairus' daughter (Luke 8:41) is an underlying framework through which much of the story is told, which is not what we find in the Gospels; however, in this film it works just fine and doesn't take from the overall story. It sort of anchors the point of view in a way.

The animated portrayal of Mary Magdalene as demon possessed (Luke 8:2) is Biblical, but could be scary for little ones-- take caution. The treatment of Judas Iscariot is unique. Very much like the treatment of Pharoah in the Prince of Egypt, this film depicts Judas as someone torn, a character you might dare to sympathize with, if it were not that we know he was a zealot who wanted to use Jesus to gain power.

The tedious craftsmanship required to produce this movie is mind-boggling. The teams from Wales and Russia worked for 4 years to produce this film! I highly recommend the DVD which includes the ''Making of'' Documentary. A simply fabulous story. Enjoy the film and share it with your friends.

On the 6th April 2000 KS2 of Sir Robert Hitcham’s primary school went to see "The Miracle Maker" at the UGC cinema. It was made with a mixture of cartoon, animation and puppets. We think it was very good how the puppets changed expression ,you could see how the puppets were meant to feel in anger or happiness. The background looked surprisingly realistic especially the water. I think the film must have taken ages to make , but it was worth it.

The friends of the school paid some of the payment for the trip and the pupils also helped to cover the cost. The film was about the life and death of Jesus and how he rose from the dead. My favourite part of it was when Jesus rose from the dead and everyone was happy. The characters included his well known disciples Matthew , Mark , Luke and John and others Simon, Thomas and Judas. I give this film 10/10 for great animation, realistic backgrounds and good sound . by Louise

The Miracle Maker

2000, BBC, Icon. Directed by Stanislav Sokolov and Derek W. Hayes. Ralph Fiennes, Michael Bryant, Julie Christie, Rebecca Callard, Richard E. Grant, William Hurt, Miranda Richardson, Ian Holm. Animated. Made for TV.

Restrained depictions of the passion of Christ; some intense scenes with evil spirits or possessed persons that could be frightening to young children.

Review by Steven D. Greydanus

In The Miracle Maker, the film’s makers have a small miracle of their own: a simple, modest retelling of the gospel story of the ministry and passion of Christ that does little more than present the bare events of the gospel narratives, without adornment or invention, without ideosyncratic “explanations” or editorial spin, without elaborations for the sake of amusement or excitement. It’s so straightforward, it’s practically revolutionary. Adapting a story for the screen substantially as it was written is a lost art nowadays. It’s easy to see why, in a way; storytellers are just naturally attracted to projects to which they feel they have some creative contribution to make; some special angle or insight to offer.

Well, these filmmakers made a creative contribution, all right — but it wasn’t the message, it was the medium. The Miracle Maker is a groundbreaking work of astoundingly lifelike stop-motion animation, supplemented with traditional hand-drawn animation for flashbacks and other special sequences, and digital effects here and there (water, fire).

If the term “stop-motion animation” makes you think of the droll characters from Chicken Run or The Nightmare Before Christmas, think again. These realistic figures — and their authentic-looking middle-Eastern miniature sets — were created by a team of meticulous Russian puppeteers working with the BBC with an eye to naturalism. The result, while not as smooth or polished as the high-tech effects of the Toy Story films, is a world of breathtaking authenticity; at times, especially in midrange shots, it’s so real you can almost forget you aren’t watching live action.

Aiding the effect are the considerable vocal talents of a stellar cast including Ralph Fiennes (Jesus), Miranda Richardson (Mary Magdalene), Richard E. Grant (John the Baptist), and William Hurt (Jairus). Following the convention of Dorothy Sayer’s The Man Born to Be King, the cast employ upper-class British accents for the educated Jewish and Roman leaders, but broad Welsh or related accents for the fishermen and other common folk.

A performance highlight is Jesus’ preaching: Fiennes sounds like a man improvising a public speech as he delivers long-familiar words about the house on the rock or the parable of the mustard seed. His Jesus is attractive, composed, commanding, and compassionate; he can rise to righteous anger (as at the cleansing of the temple), but has an acute sense of humor (seen particularly in satirical parables such as the log in the eye). The most noteworthy thing about this production, though, is not the performances or even the animation, but the reverent, mature approach to the story. In using their remarkable technique to bring the gospel story to life, the filmmakers have succeeded admirably in fulfilling the ideal of St. John Chrysostom: “Not to say anything new, but to say it in a new way.”

That’s not to say the screenplay by Murray Watts (who also wrote a 1998 animated TV version of Beowulf) takes no license at all. Events have been rearranged, conversations invented or expanded. Much of the story is seen from the point of view of the daughter of Jairus the synagogue leader, the girl whom Jesus raised from the dead (here named “Tamar”), as well as that of Jairus himself and his wife. Tamar, along with one or both of her parents, shows up at various points in the story: at the beginning of Jesus’ ministry, as he leaves his carpentry work; at the Sermon on the Mount; at the healing of the paralyzed man; and (after Tamar has been raised) on Good Friday, as Jesus carries his cross down the Via Dolorosa.

But all this is pretty modest stuff. Even good adaptations, like The Prince of Egypt, usually take generous dramatic license with their source material, reworking to make their stories more interesting, accessible, or exciting, to fill in narrative gaps, or to help audience members draw whatever the filmmakers happen to feel is the proper conclusion. That’s not necessarily a bad thing; depending on the filmmakers, the result is sometimes very good (The Prince of Egypt) and sometimes very bad (last year’s Noah’s Ark miniseries). But always it’s as much about the filmmakers and their vision, as about the original text or the author’s vision. The story of The Miracle Maker, to a great degree, isn’t about the filmmakers. For the most part they’ve simply tried to get out of the way and let the evangelists speak.

Given a running time of 90 minutes, the evangelists couldn’t be allowed to say everything. Thus, screenwriter Watts’ most important contribution was choosing what to keep and what to leave out; and in general he’s made pretty good decisions. The nativity of Christ is here, in flashback, along with the shepherds and the gifts of the Magi; but not the annunciation to Mary, the visitation to Elizabeth, or the flight into Egypt. There’s the divine acclamation from heaven following Jesus’ baptism by John (though John doesn’t actually touch Jesus, who simply plunges himself beneath the surface), and the temptation in the wilderness; but the Transfiguration has been omitted. There’s the miraculous catch of fish, but not the feeding of the 5000; the promise to build on Peter the rock is here, though not Peter’s confession of faith or the keys of the kingdom.

A few unfortunate calls were made in editing the passion narratives. I can understand leaving out the scourging at the pillar (which might have been too intense for many children anyway), but I would have liked to see Simon of Cyrene helping Christ with his cross. Of the seven words of Christ from the cross, the story retains only “Into thy hands I commend my spirit” and “It is finished”; gone are “Father, forgive them”; “My God, my God, why have you forsaken me?”; “Woman, behold your son; son, behold your mother.” (Mary the mother of Jesus doesn’t seem to be present at the cross here, and is sadly deprived of the Cana story also.) And, while leaving out the soldiers casting lots for Christ’s clothes is defensible, omitting the guards at the tomb is really not. On the other hand, the death of Christ is accompanied by a dramatic rending of the temple veil, a significant detail that could easily have been left out.

While it’s possible to quarrel with what the film doesn’t do, what it does do is virtually beyond reproach. Notwithstanding its simplicity — or because of it, rather — The Miracle Maker is quite simply one of the most genuinely profound and noteworthy depictions of the gospel story of all time, in any medium. It’s appropriate for most children, yet mature and not in the least juvenile or condescending — truly family fare. An instant classic, bound to become an enduring Easter favorite, The Miracle Maker is easily this year’s most religiously significant film.

© 2000 Steven D. Greydanus. All rights reserved.

The Miracle Maker [DVD](2000)

DVD A unique blend of traditional animation and stop-motion clay animation, this moving look at the life and teachings of Jesus is a treat for the whole family. The stellar voice cast includes Julie Christie, Richard E. Grant, William Hurt, Miranda Richardson, and Ralph Fiennes as Jesus. 87 min. Widescreen; Soundtrack: English Dolby 5.1; "making of" documentary; trailer; scene access; interactive menus.

Very creative and engaging. I bought the video for my children but ended up spellbound by it and had to watch it again! It is very original in that it varies in animation types (from 3D clay animation to various types of 2D cartoon animation).

It remains true to the Gospels without blandly following them and also brings in the view of a child, Tamar, who's miracle blends in beautifully with the flow of the story.

The only thing I wish there had been more of is emotion in the characters but what there was was well done and at times I forgot I was watching an animation and at times tears did come to my eyes!

Well done! I'd heartily recommend it.

Tim Gibson