Der Untergang von Pompeji

If you liked "Gladiator," then "The Last Days of Pompeii" is a good choice for an empty afternoon of slash-em-up moralizing. The sets are expansive and ornate, there's loads of action and the story, though pretty one-note, is well-written and well-acted. Normally I can't stand classical actors, but the performances in "Pompeii" are so energetic that I got sucked in, anyway. The moral underpinning of the movie does include a couple of appearances by Jesus Christ, complete with awed crowds of followers and the obligatory boys choir, but compared with some of the later Jesus epics that Hollywood produced ("King of Kings" and "The Greatest Story Ever Told"), "Pompeii" handles the material with considerable flair. The only major nitpick I have for this movie is its freewheeling use of history. At most, the story only covers 20 years, but Jesus died around 35 AD and Vesuvius erupted in 79 AD. But then, when has Hollywood let the truth get in the way of a good story?

I first saw this movie years ago as a child and it had quite an impact on me. I loved the acting. Preston Foster as the disillusioned blacksmith, David Holt, as the sweetest little boy one could possibly imagine, and John Wood as the older Flavius, so idealistically touched by his experience at the hands of Jesus. But I must reserve the greatest praise for Basil Rathbone. His portrayal of Pontius Pilate, so fine, so sure, is unparalleled. His nuances of effect and strength of personality are superbly matched to this role. You can almost taste the turmoil roiling within him as you watch the splendid emotional battle waged on his wonderfully expressive face. Walt Disney once said, "First you begin with a story." It is true. The story here is classic. A man searching the world for the key he holds within his own heart. Preston Foster, so disillusioned in his flight from poverty, that he fails to see the significance of events around him, Flavius, as the boy grown to manhood touched by a higher calling and Basil Rathbone as Pontius Pilate, probably the second most reviled figure living at that time. Wonderful, wonderful historical novel, acted brilliantly as only the actors of that time could do.

"The Last Days of Pompeii" was a film that captivated me during childhood and still intrigues me today, albeit on a different level. As viewers' comments have noted, "Last Days" is a little heavy handed with its moral theme and the character development of Marcus the Blacksmith-turned Gladiator-turned head of the Arena. Marcus (Preston Foster) is an innately good man, blessed with a loving wife, baby son, and a career, until an out-of-control chariot shatters his existence. With his wife (Gloria Shea) nearing death, Marcus must turn to the Arena, against his earlier values, now faced with the reality that money is the key to everything. Marcus becomes a killing machine, progressing up the gladiator billing to the top spot, but then adopts the son, Flavius (David Holt), of a slain adversary, resulting in another change. Acquiring a Greek slave (Wyrley Birch) to tutor his son, Marcus eventually heads for the Holy Land to make his fortune, meets Pontius Pilate (Basil Rathbone), and encounters Christ. Pilate uses Marcus in a symbiotic way that benefits them both, but it is the Lord who heals Holt when he lies near death. Marcus turns his back on the Lord, despite the protests of Simon (Murray Kinnell), in order to get his money back to Pompeii. The scene shifts, with Flavius (John Wood) now a young man appalled by the events in the Arena and struggling to remember the man who healed him in his youth. The conflict between father and son, arrival of Pilate to take Flavius to Rome, the corrupt Prefect (Louis Calhern) who demands gore for the "Games," and Flavius' romance with a slave (Dorothy Wilson) all intertwine and lead to the climatic eruption of Vesuvius. Marcus redeems himself in the emotional conclusion.

As a child, I loved Marcus' spiritual journey from innocent joy to sorrow to hard-hearted bitterness to mercenary greed and, finally, to redemption. As an adult, I still like the tale, but have focused more on the acting and production values. I disagree with the commentators who call the acting "wooden." Foster gives one of the best performances of his career as Marcus. As many note, Rathbone renders a sympathetic, sensitive delineation of Pilate. And the supporting players are superb: Edward Van Sloan as a kindly neighbor, Frank Conroy as a kind but condescending noble, Gloria Shea as the young wife, Dorothy Wilson as the son's love interest, Calhern as the despicable Prefect, Zeffie Tilbury as an old Greek soothsayer, etc. Even the minor roles are well-etched: Ward Bond as a bragging opponent of Marcus, Jason Robards Sr. as the tax gatherer, Reginald Barlow as the slave market proprietor, Kinnell as the Judean peasant, and many more. One can even spot Jim Thorpe throwing coins after a gladiator battle. A few players did very underrated work in "The Last Days of Pompeii." Alan Hale Sr., as Burbix, captures the rough edges of a criminal and then the fierce loyalty to his understanding friend Marcus. William V. Mong, as the growling-at-times, cowering-with-fear at others, slave dealer, Cleon, gives a wonderful, colorful performance that is anything but "wooden." But it is Wyrley Birch, as Leaster, the kindly Greek scholar/slave, who provides the moral compass for the film, counseling Marcus, tolerating his greed and seeming imperviousness to the suffering of others, while educating his son Flavius that there is a better way and far superior values than those his father seems to endorse. Birch walks the tightrope and never becomes overly sentimental. Truly, Leaster represents the apex of Birch's career.

"The Last Days of Pompeii" is an enjoyable film on many levels, including as a morality tale. It is much more than that, however. And for lovers of old character actors, it is a treasure trove!

In the old Roman Empire city of Pompeii, brawny blacksmith Preston Foster (as Marcus) suffers a great family tragedy. Desperate for money, Mr. Foster reluctantly becomes a gladiator; he is uncomfortable killing defeated opponents, but must make a living. Wracked with guilt, Foster adopts pre-teen David Holt (as young Flavius) after killing his father in a fight. Foster can no longer fight competitively and makes money trading slaves and horses. He eventually becomes very prosperous...

Foster is unaware he is living during the time of Jesus Christ, who has a following. An old woman instructs Foster to take his son to see the "greatest man" in Judea. Foster considers this to be "prophesy." He crosses paths with Christ, but believes the greatest man is more likely the governor of Jerusalem, Basil Rathbone (as Pontius Pilate). Foster begins working with the notorious leader. After the Christian crucifixion, Foster's son grows up to be John Wood (as Flavius) and clashes with his papa...

Other than the ending eruption, "The Last Days of Pompeii" completely re-works the plot (of the original novel by Edward George Bulwer-Lytton). It's a good (perhaps better), Christian-focused revision, though sometimes stodgy in the production. The concept of slavery is changed, which is nice. Original thinking was that the mistreating of slaves was bad; nice people treated them nicely, and bad people treated them badly. Also, Mr. Rathbone's "Pilate" is given more depth in characterization...

God, however, is still in firm control of natural disasters.

****** The Last Days of Pompeii (10/18/35) Ernest B. Schoedsack ~ Preston Foster, John Wood, Basil Rathbone, David Holt

Conscious stricken after abandoning Christ on the way to Golgotha, a jaded slave trader witnesses THE LAST DAYS OF POMPEII, and the city's horrific destruction.

Although burdened with occasional wooden acting, this is generally a fine historical drama. RKO spent quite a bit of money on its production and it shows in the large crowd scenes and still noteworthy special effects. The film boasted a very fine team behind the camera, working together as they had on KING KONG (1933). Directorial duties were shared by Ernest B. Schoedsack & Meriam C. Cooper. Special effects wizard Willis O'Brien worked his magic, while composer Max Steiner contributed a pounding score.

Preston Foster had one of his finest roles as the stalwart blacksmith turned gladiator and slaver. His performance during the prolonged climax, while desperately trying to save the life of his doomed son, is especially effective. David Holt & John Wood, playing the youth at different ages, are also very good.

Additional fine support is offered by Alan Hale as the rough mercenary who teams with Foster; and by villainous Louis Calhern as Pompeii's last prefect. Acting honors, however, go to marvelous Basil Rathbone, who gives a most sophisticated performance as Pontius Pilate, by turns rogue, fate's victim & moral philosopher.

Movie mavens should recognize Ward Bond as a boastful gladiator, elderly Zeffie Tilbury as a soothsayer, Edward Van Sloan as Pilate's clerk & Edwin Maxwell as a Pompeii official, all uncredited.

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The film makes rather a mishmash of historical chronology. Young Flavius appears to be about ten years old at the time of Christ's crucifixion, which occurred around AD 29. It would be another fifty years - August 24, AD 79, to be precise - until Vesuvius' eruption destroyed Pompeii, yet Flavius is still depicted as a youthful fellow, just reaching maturity. Early Christian tradition also holds that Pilate committed suicide in AD 39 - four decades before Pompeii's rendezvous with destiny.

While using the same title & location, this film tells quite a different story from that of the classic 1834 novel by Baron Bulwer-Lytton.