Five years in the making, the first IMAX film ever made about Jerusalem is as much a visual tour de force as a marvel of cultural diplomacy.
“Jerusalem,” which had its world premiere last week at Boston’s Museum of Science, uses cutting-edge cinematography to immerse the audience in the ancient city’s historic sites from rarely seen perspectives.
Over the course of 45 minutes, viewers are treated to rare aerial views of the Old City as Jews gather at the Western Wall for the priestly blessing, Christian pilgrims march down the Via Dolorosa and Muslims gather at the Al-Aqsa Mosque on the first Friday of Ramadan.
Footage of the annual Ceremony of the Holy Fire, held at the Church of the Holy Sepulchre during the Orthodox Easter celebrations, sets the screen aglow with dazzling light.
Distributed by National Geographic Entertainment, the film, narrated by the British actor Benedict Cumberbatch, will show on IMAX screens and in digital 3-D cinemas across the United States in the coming weeks.
Gaining access to some of the world’s most sensitive and contested locations was a test of devotion and artful negotiations that took the film’s three producers and a team of advisers years to accomplish. Preparations required dozens of meetings with Israeli and Palestinian officials, the Israeli army and the many clerics who control the city’s religious sites.
Filming from a low-altitude helicopter in the Old City of Jerusalem’s strict no-fly zone required a permit that had not been granted in more than 20 years, the filmmakers said, and acquiring the permit took eight months of negotiations.
In advance of the shooting, producers took out ads in the major Hebrew- and Arabic-language newspapers to notify residents about the helicopter filming.
“There was nothing that was not complicated,” Taran Davies, one of the film’s producers, said at the premiere.
Even the terrestrial shots were difficult to carry off. For the scene filmed at the Western Wall, an IMAX camera was mounted on a crane above the crowds. To film the fire ceremony, producers secured permission from the six entities that share authority over the church.
The most challenging authorization by far was for the Muslim Noble Sanctuary, known by Jews as the Temple Mount, which required permission from the Islamic custodial body, the religious affairs ministry in Jordan and Israeli security forces.
An IMAX camera mounted on a crane captures the recitation of the priestly blessing at the Western Wall during Passover. (Nicolas Ruel)
A critical figure in helping the producers navigate the logistical maze was Ido Aharoni, now Israel’s consul general in New York. Aharoni first learned about the film six years ago when he directed Brand Israel, a project to promote Israel around the world.
Aharoni recognized the potential of portraying the country’s historical and cultural gems in such a visually powerful medium. IMAX films also typically screen in museums and can run for years.
“The whole purpose of the movie is to produce a visually awesome experience for the moviegoer who happens to be a museumgoer; it can’t be judged like any other movie,” Aharoni told JTA. “Realizing that, we told [the producers], ‘Whatever you need, we’ll help you.’ ”
The film’s mesmerizing visuals are woven into a narrative propelled by the voices of three teenage Jerusalemite women — Jewish, Christian and Muslim. Fluent in English, the women offer eloquent descriptions of the deep religious, cultural and family ties that bind them and their respective religions to their home city.
Though the film was carefully planned down to the last minute and camera angle, Daniel Ferguson, the film’s producer, writer and director, told JTA the teens’ words were their own.
“My goal is to promote understanding,” Ferguson told JTA. “The film will change assumptions and give a window into another point of view.”
The voices of the women are supplemented by that of Jodi Magness, an archaeologist at the University of North Carolina, who guides viewers through an ancient tunnel and visits active excavation sites that continue to unearth the history of the land.
The producers of “Jerusalem”: Daniel Ferguson, left, George Duffield and Taran Davies. (Reed Smoot)
The filmmakers took great pains to balance the presentation of all three religions, according to George Duffield, another producer with longstanding ties to Israel. He and Ferguson say they were at times pressed to take a position on controversial or political issues, but insisted on neutrality.
“Everyone wanted the film to be about their own faith,” Duffield said. “That’s how they see the city.”
The producers hope the film can be used to promote tolerance and understanding. Profits will be donated to the Jerusalem Foundation and the Hebrew University of Jerusalem to underwrite projects that benefit all residents of Jerusalem.
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