Exploring “The Carpenter’s Son” and the Infancy Gospel of Thomas

In the second century, the canonical Gospels began to circulate widely, alongside other texts about Jesus’ life. The Infancy Gospel of Thomas, while not part of the New Testament, gained popularity among Christians over the centuries.

Lotfi Nathan, a filmmaker, discovered these narratives about Jesus’ childhood through his father, who had a passion for history. This exploration soon became the groundwork for his supernatural thriller, “The Carpenter’s Son,” which features Nicolas Cage and hit theaters recently.

“I was horrified to think about that,” Nathan, who grew up as a Coptic Orthodox Christian, reflected. “What’s interesting here is that it offers an origin story that hasn’t really been told.”

From Manuscripts to Film

The film includes performances from FKA Twigs and Noah Jupe alongside Cage, depicting a young Jesus tempted by Satan to defy his father, Joseph. The film acknowledges its roots in the Infancy Gospel of Thomas, though Nathan noted that the source material was somewhat fragmented—there wasn’t a clear narrative arc.

“It reads more like a list of events than a story,” he remarked, discussing the challenge of crafting a compelling screenplay based on a text detailing Jesus’ life from ages five to twelve. To address this, he consulted historians extensively before writing his first draft.

Interestingly, Cage had come across the Infancy Gospel of Thomas years before, during a period of deep thought and contemplation. When he received the script from Nathan, he felt it aligned with stories that had always captivated him.

“Family dynamics intrigue me, and I thought the Nativity offered a unique perspective,” Cage told an interviewer. “Initially, I didn’t view it as a horror film but rather a family drama exploring existential crises.”

The Infancy Gospel of Thomas and Its Historical Context

Tony Burke, a Toronto professor specializing in early Christian texts, argues that while this gospel might feel unfamiliar to contemporary audiences, it was quite influential and enduring in its time.

Its narratives were woven into ancient Christian traditions, art, and even medieval literature. Interestingly, one story of Jesus animating a clay bird is also referenced in the Quran.

The Infancy Gospel of Thomas, or Paidika, surprises many modern readers. Burke explained, “This isn’t the formidable Jesus they expect, one who harms other children or confronts teachers. Such narratives weren’t alarming to ancient audiences; it was common for revered figures to deliver both blessings and curses.”

However, many modern Christians question the validity of these stories, asserting they contradict the biblical portrayal of Jesus.

The Paidika was one of two significant infancy gospels popular among early Christians, alongside the gospel of James. These texts, while not strictly canonical, held a place of interest for many believers.

The portrayal of Jesus in this film isn’t typically classified as horror, but it draws from a text that many might find unsettling. Joan E. Taylor, a professor at King’s College London, noted that the second-century accounts depict Jesus with great powers, yet lacking the moral compass typically shown in canonical texts.

“He possesses supernatural abilities but wields them without the ethical framework we might expect,” she said. “It’s a fascinating yet troubling depiction of a child with unrestrained power.”

A Thoughtful Approach to Storytelling

“The Carpenter’s Son” isn’t the only recent film delving into apocryphal gospels. “The Young Messiah” also interprets this genre, based on a novel from 2016, which references Paidika.

Both films creatively navigate aspects of the text that clash with canonical narratives. For instance, “The Young Messiah” depicts Satan’s role in ensnaring Jesus, while “The Carpenter’s Son” omits this part entirely.

Creating films about Jesus can be tricky, particularly when expanding beyond traditional gospels. Cage recalled the backlash around “The Last Temptation of Christ,” where he witnessed detractors shouting their opinions outside theaters without having seen the film.

“I asked them how they could judge without watching,” he shared. “It’s essential to approach these topics with understanding.”

He recognizes that films touching on sacred themes often attract criticism. The American Family Association publicly condemned the movie and called for a petition to stop its release.

“Our goal was never to offend anyone,” Cage affirmed. “If people choose to watch this film, they’ll see that it was crafted with care and love, rather than mockery or contempt. The intention was to promote understanding.”