When you think of the legendary TV miniseries Jesus of Nazareth, you probably picture sweeping desert vistas, stirring sermons and that unforgettable gaze of the lead actor. Yet there’s a treasure trove of quirky, off‑beat details that most viewers never notice. In this “top 10 fascinating” rundown we’ll peel back the curtain and reveal the oddball facts that make the show a true pop‑culture marvel.
Why These Top 10 Fascinating Details Matter
10 Jesus Wore Makeup
Lew Grade, the producer, was hunting for the perfect face to embody the Messiah when his wife suggested Robert Powell because of his strikingly blue eyes. To make those eyes pop on camera, the makeup crew applied a thin line of dark blue eyeliner along the upper lid and a contrasting white line on the lower lid, essentially turning Powell’s gaze into a glowing beacon of divine intensity.
The intention was to amplify the natural sapphire hue of his irises, giving the character a penetrating stare that seemed to look straight into the soul of anyone watching. The result was a visual cue that subtly signaled his otherworldly nature without a single word spoken.
Fans still argue whether the extra makeup made Powell look more like a celestial being or simply a very well‑styled television star, but there’s no denying the technique helped cement his iconic look.
9 He Never Blinks
Director Franco Zeffirelli wanted his Jesus to exude an almost supernatural calm that set him apart from his disciples. To achieve this, he instructed Powell to keep his eyes wide open for the entire shoot, effectively eliminating any blinking that might betray a human nervousness.
Most viewers don’t consciously notice the lack of blinking, but once pointed out, it becomes impossible to ignore. The unblinking stare gives the impression that Jesus can see straight into the heart of every character he meets, lending an eerie yet mesmerizing quality to his performance.
According to on‑set observers, the youthful Jesus in the temple blinks a couple of times, whereas the adult version maintains an uninterrupted gaze throughout, only blinking once after the crucifixion scene when his lifeless body is cradled by Mary.
8 Zeffirelli’s Jesus Was a Borgia
Why does the classic image of Jesus feature a fair‑skinned man with long brown hair and blue eyes? Historically, the real Jesus likely looked quite different, but artistic conventions have long favored a Eurocentric visage. One theory traces this look back to Cesare Borgia, a 15th‑century noble celebrated as the era’s most handsome man.
Leonardo da Vinci’s famed painting Salvator Mundi is believed to have used Borgia as a model, presenting a delicate, almost feminine Christ with flowing brown locks. This aesthetic quickly became the template for countless religious artworks, cementing the “Borgia‑Christ” archetype that Zeffirelli later embraced when casting Powell.
The choice proved serendipitous; Powell’s natural resemblance to this long‑standing image made him an ideal fit, while other potential leads like Dustin Hoffman or Al Pacino would have shattered audience expectations.
7 Jesus Was a Droog
The series was originally conceived as a three‑part miniseries, with the first installment scripted by none other than Anthony Burgess, author of A Clockwork Orange. Burgess, a devout Catholic, was thrilled to bring the life of Christ to the small screen, but his tenure was cut short.
His downfall came after he penned a scathing review of a novel he had secretly published under a pseudonym. The review, which dismissed the work as obscene, was published in the Yorkshire Post, and when the paper’s editors discovered Burgess was both author and reviewer, they promptly terminated his employment.
Consequently, Burgess was also dismissed from the Jesus project, leaving the series to continue without his literary touch, a loss that many fans still lament.
6 Jesus Ate Only Cheese
In preparation for the physically demanding role, Robert Powell adopted an extreme diet to achieve a gaunt, emaciated look for the crucifixion sequences. Rather than the traditional “loaves and fishes,” Powell subsisted solely on cheese, a high‑protein, low‑carb regimen that helped him shed weight rapidly.
The cheese‑only diet not only gave him the desired skeletal appearance but also contributed to a pungent aroma that reportedly lingered on set, adding an unintended layer of authenticity to the suffering of the crucifixion.
One can only imagine the poor thieves crucified beside him, enduring not just physical agony but also the smell of aged cheese wafting through the air.
5 There’s Just No Pleasing Some People
Franco Zeffirelli aimed to craft a version of the story that would resonate across denominational lines, consulting leaders from numerous faiths to fine‑tune every scene and symbol. He sought a balance that honored Catholic tradition while respecting Jewish sensibilities, even incorporating a Bar Mitzvah ceremony—despite its medieval origins—to give audiences a familiar ritual.
Despite these diplomatic efforts, Zeffirelli’s portrayal of Jesus as an “ordinary simple man” sparked outrage among fundamentalist circles. Bob Jones III, the chancellor of Bob Jones University, interpreted this as a denial of Christ’s divinity and labeled the series blasphemous without ever having seen it.
The backlash prompted General Motors, a major sponsor, to receive over 18,000 protest letters, ultimately leading the corporation to pull its funding from the project.
4 Jesus Of Nazareth Is a Silent Movie
Shooting took place largely in Tunisia, where local regulations required the employment of many native extras who spoke little English. To overcome language barriers, Zeffirelli filmed crowd scenes without synchronized sound, later adding audio in post‑production.
This dubbing extended beyond background actors. Lorenzo Monet, the Italian child portraying young Jesus, was asked to recite Hebrew prayers but mumbled them on camera. Zeffirelli replaced his lines with an English voice‑over to maintain clarity.
Even Robert Powell’s own voice was occasionally dubbed. In the pivotal exchange where Pilate asks if Jesus is a king, the audible line (“Yes”) does not match Powell’s mouth movements, revealing the seamless yet hidden post‑production work.
3 Judas Is Nice
Ian McShane’s portrayal of Judas Iscariot adds a layer of moral ambiguity absent from many traditional adaptations. Rather than a purely greedy traitor, McShane’s Judas is driven by political ambition, mistakenly believing that Jesus’s teachings call for a revolutionary uprising against Roman rule.
In Zeffirelli’s vision, Judas hopes that betraying his master will force Jesus to act, sparking a rebellion that could topple the empire. The 30 pieces of silver, instead of being merely a payment, become a symbolic insult, scattered beneath Judas’s hanging body after his death.
This nuanced interpretation humanizes Judas, making his betrayal a tragic misreading of Jesus’s message, though it still provoked strong criticism from conservative audiences.
2 From An Original Idea By . . .
The concept for the miniseries originated during a private audience between television mogul Lew Grade and Pope Paul VI. The Pope, impressed by Grade’s earlier biblical epic Moses The Law‑Giver, encouraged him to undertake a similar production about Jesus.
Initially skeptical about audience appetite, Grade discussed the project with Zeffirelli, whose strong Catholic convictions convinced him to proceed. Grade reportedly told Zeffirelli that if he declined, the entire venture would be abandoned.
Upon completion, Pope Paul VI viewed a private screening, gave his enthusiastic approval, and personally thanked Zeffirelli, cementing the series as an enduring Easter tradition worldwide.
1 Robert Powell Is the New Jesus
Just as Cesare Borgia’s visage shaped countless artistic depictions of Christ, Robert Powell’s portrayal has become the modern visual reference for many believers. Churches across the globe have swapped out older icons for stills from the series, placing Powell’s wide‑eyed, unblinking Jesus above altars and in prayer books.
Powell’s image is so recognizable that strangers sometimes mistake him for the actual Messiah on the street, prompting bewildered reactions. The actor’s striking look has transcended the screen, embedding itself in contemporary religious iconography.
In recent years, Powell has taken to social media to clarify that, despite his iconic status, he remains an actor—not the Son of God—reminding fans of the line between performance and divinity.