Mary Magdalene

Biblical interpretations are constantly evolving, so it’s reasonable for Mary Magdalene to offer a fresh perspective on the life of its subject. Yet in portraying her as a pioneering feminist, this progressive yet emotionally flat biopic might alienate some purists.

Although handsomely mounted by Australian filmmaker Garth Davis (Lion) with an attention to historical detail, it’s likely to register as a mere footnote when considered alongside decades of big-screen biblical epics.

Without much consequential revisionism, the story at least provides some modest if well-worn insight into Mary (Rooney Mara) and her role as one of the most ardent followers of Jesus Christ (Joaquin Phoenix). In particular, of course, she was the first to discover the empty tomb signaling Christ’s resurrection.

Prior to that, however, Mary seeks Christ’s guidance while trying to break through traditional gender barriers from her upbringing in Galilee, eventually becoming a baptized convert as well as a conduit for his message of healing and forgiveness in the face of oppression.

Along the way, she earns both trust and skepticism from the other disciples, including Peter (Chiwetel Ejiofor) and Judas (Tahar Rahim). Unlike them, she watches from the crowd in horror during the crucifixion.

More intimate character study than sprawling epic, the film apparently is trying to capitalize on the image rehabilitation efforts on Mary’s behalf in 2016, when the Vatican declared a feast day honoring a legacy that for centuries had been misinterpreted.

The deliberately paced screenplay takes an almost secular approach to adapting the scriptural text, although its efforts to fill in some New Testament narrative gaps wind up didactic and tedious.

Mary Magdalene manages some powerful moments involving the modification and affirmation of faith, although it’s not always easy to illustrate those emotions in cinematic terms. Still, it benefits from some dynamic performances, including Phoenix’s powerfully understated portrayal of Jesus, capturing his agony and torment as he endures a spiritual crisis leading up to the crucifixion.

That’s also part of the problem. Perhaps inevitably, Mary’s story is upstaged by that of Jesus, rendering her a periphery rather than an influential figure. Thus, the film struggles in its effort to bring an oft-told tale back to life.

Rated R, 119 minutes.