"Simon is Dismissed" is a raucous cue with atonal melodies and atmospheres. It has a rather unique sound to it, as one would expect. "The Stoning" occurs during a flashback sequence, and for this moody cue Debney worked with Shankar and Gingger, "the only two people in the world that play the Double Violin" (according to their website). "Peter Denies Jesus" hints at a rather classical chord sequence that will be fully featured at the end of the album, but it's an emotional cue nonetheless. However, to break up the darkness, "Bearing the Cross" is sequenced between these two tracks, allowing for a rather religious moment, with a full choir building slowly through the rhythms and ethnic instruments. The dark music continues in "Jesus Arrested", sounding quite like something Debney might have written for a horror film. In "The Olive Garden", dark ominous creepy music is enhanced by Martin Tillman's electric cello (as he had done previously on Black Hawk Down). Instead, John Debney's score is filled with ethnic percussion and instruments, vocal chanting, and a rather classical "biblical epic" sensibility. Except that this features no pop song by a Canadian diva. The Passion of the Christ is the most successful soundtrack album since Titanic. Why it succeeded is open to various interpretation, but it probably goes without saying that it has an audience that was not only receptive to the film, but to the soundtrack as well. That kind of success is noteworthy, especially for a film which was originally expected to fail. Regardless of your feelings of the film, it's the most successful R-rated film ever, and as of this writing, has already passed the $300-million mark. With The Passion of the Christ, Mel Gibson has been accused of anti-Semitism, among other charges.
With The Last Temptation of Christ, Martin Scorsese dealt with a negative backlash. It seems that whenever a film is made about Jesus, there is bound to be some kind of controversy.
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