Die größte Geschichte aller Zeiten

Saw the cut-down version of this recently on cable, letterboxed (the only way to go!). For all the bad press it evidently got in its day, I found the color cinematography dazzling, the compositions wonderful (as we'd expect from the director of Shane and Giant), and the performances ... not too bad at all, for the most part. Many if not most of celebs who did cameos are no longer household names (or faces), so they're less jarring than they must have been in the 60s (the groaning exception, of course, being John Wayne as the Centurion). Von Sydow is fine if a bit stiff, Heston as the Baptist is a bit too stiff, Jose Ferrer is wonderful (did his son Miguel study dad's performance as Herod Antipas for his role in Traffic?), and so are most of the other key parts.

If Scorcese's Last Temptation of Christ comes off as less an art film and more as another corny Hollywood biblical epic, Stevens' film comes off less as the latter and more as the former, given that one's expectations are for corn, not art. (Is that clear?) I've said previously that Scorcese's film was basically a ripoff of Pasolini's wonderful Gospel According St Matthew, and I still think that's the case so far as the basic treatment goes, but I now think that visually, as a wide-screen color film, it rips off Stevens.

Greatest Story is the first Christ movie (and probably the first biblical epic) where the director obviously understood that the physical setting could be a very important part of the story - the sparse, barren landscape that people could disappear into and come back having seen visions, etc. Scorcese seems to have picked up on this too, but his visual sense isn't a jot on Stevens', for sure.

I do agree that the story drags, and the whole thing is probably overlong. I was also disappointed that Stevens does so little with the final temptation and betrayal in the Garden of Gethsemane. I've always felt this is the dramatic climax of the whole story - the final point of no return for Jesus - and oddly, the recent TV miniseries version, with Jeroen Krabbe as a fun modern-dress Satan, is the only one that's really grasped this, I think. Maybe some of this is among the stuff that didn't survive from the 260-minute version?

Overall, I'd heartily urge George Stevens Jr., who's done such a good job of preserving his father's legacy, to consider restoring this one and letting us see it on the big screen again. It's a feast.

One of films real special. For cast, off course, but, more important, for a fist of performances. Charlton Heston,Donald Pleasance, Telly Savalas are the good examples. Sure, the provocation is the option for Max von Sydow for the role of The Savior. It is not easy to say if the choice was a happy one, but his work is so special than you see it as reasonable choice. The scenes of the death and resurrection of Lazarus are, for me, the axis to remind this film. Like the cinematography andthe opportunity to see Grand Canyon in different perspective.A generous film and good alternative, today, to Zeffirelli and Gibson films about Christ. Because it remains a sort of exploration , honest, wise and precise of the great story root of our civilisation.

I first saw this film when it was first released -- in the cinema and on a large screen with brilliant color and rich deep stereo sound. It was breathtaking! George Stevens Jr. did an absolutely magnificent job in crafting this outstandingly beautiful, sensitive, and powerful motion picture. This was not just a deeply moving re-telling of the story of Jesus (albeit with a touch of a pro-legend approach). More than that, in its visual sweep, insightful acting of the lead characters (especially of Max Von Sydow as Jesus), and resplendent musical track, this film conveyed a true sense of majesty -- a marked rarity in most film these days.

I must concur with one of the other online reviewers here, on a related point: I too believe that it was a shame, and an error on the part of Stevens, that various key characters were portrayed all-too-noticeably by some major film/entertainment stars who just seemed to be bizarrely out-of-place in their roles -- such as John Wayne as the Roman Centurion who, never before seen in the film until this moment, looks up at Jesus on the Cross and says "Truly, this man was the son of God!" (I almost expected Wayne to tag his line with the word "Pilgrim"); or such as singer Pat Boone, who jarringly appears in the role of a cloaked man who, sitting in Jesus' vacated tomb, says to a searching Roman, "Why seek Ye the living among the dead?" (Here too, I think that I was not the only one who half-expected Boone to leap to his feet and break out into singing one of his big hits such as "Bernardine" or "Love Letters In The Sand").

But those discontinuities aside, I would still say that "The Greatest Story Ever Told" is an outstanding film that merits very high marks. If you can see it, see it -- especially on a big screen, if possible, and with a good sound-system.

Steve S. (NYC)

An often under-rated attempt at the life of Christ, George Stevens' modestly titled epic was long, beautifully photographed and more than a little deferential to our saviour but it managed to keep my interest. Most of the film's critics believe the incessant cameos ruin it - though I think the brash, mainly American contingent make quite an accurate portrayal of humanity opposite serene Swede Max von Sydow. And it is to Him the film belongs. His first english-language film & one he admits isn't a masterpiece is notable for a performance from a man who played Jesus as a man and not as a God. Whatever, he was so good he almost converted this hardened atheist.

When first released George Stevens's version of the Gospel was dismissed as too long, too reverential, too soon after the sound version of The King of Kings was released, and too many stars in the cast taking one's attention from the story.

Too some degree that is true, but being a stargazer myself I'll never find fault with a film for that. And who knew in 1965 that we would get The Last Temptation of Christ and the Passion of the Christ in our future. George Stevens's film is looking pretty good now.

No doubt about the presence of a whole lot of movie names helped bring in the bucks. But with one glaring exception you do pay attention to the roles, not who's playing them. Some parts are pretty substantial. Charlton Heston as John the Baptist has the longest amount of screen time other than Von Sydow. Also given a large amount of time is Jose Ferrer as Herod Antipas, Telly Savalas as Pontius Pilate, Dorothy McGuire as the Virgin Mary and Donald Pleasance as the Prince of Darkness.

The personification of the Devil is something Mel Gibson borrowed for his film. Personally I think Donald Pleasance is quite a bit better than what Gibson did.

Other stars had smaller roles. Sidney Poitier played a silent part as Simon of Cyrene who helped Jesus with his cross on the way to Calvary. You could not have gotten away with an all white cast in a film like this by 1965. A whole group of players from previous Stevens films got some bit parts and more like Van Heflin, Shelley Winters, Sal Mineo, and Ed Wynn.

One star Joseph Schildkraut had the rare distinction of playing in both Cecil B. DeMille's silent King of Kings and this film. Schildkraut played Judas for DeMille and is seen as Nicodemus here. This was Schildkraut's last film. An interesting double distinction for a man who came from a prominent Jewish theatrical family.

One big glaring error though. Stevens should never have cast John Wayne as the Roman Centurion who supervising the crucifixion. Wayne is seen in passing through out the journey to Calvary, but with no dialog. At the moment of Jesus's death with the drama unfolding it was just wrong to have that recognizable a voice utter, "truly that man was the son of God." Instead of concentrating on the story the audience gets distracted and in the theaters the whispers went up with 'ooh, that's John Wayne.'

Arizona served as the location for ancient Judea. Unlike DeMille in The Ten Commandments, Stevens concentrated on the beauty of the location as opposed to filling the screen with people. It got filled enough with the story. You might recognize the Grand Canyon as the backdrop for the sermon on the mount scene. Of course Handel's Messiah is almost obligatory for these films and it's done well here.

One scene that you will not forget comes at the end of the first act, the raising of Lazarus who is played by Michael Tolan. His sisters, Mary and Martha, are played by Ina Balin and Janet Margolin. They had shown Jesus and the disciples hospitality earlier. When Lazarus is taken ill, Mary and Margaret, go after Jesus to bring him back. It is too late, Lazarus has died and he's in his tomb. Or so everyone thinks. The sparse dialog, the photography, and the background music are so well done at this point the most hard hearted nonbeliever will pause.

Of course most of the name players in The Greatest Story Ever Told are no longer with us so the cameos don't mean as much today. It is probably better in that an audience of today can concentrate on the story without even the most minimal interference of recognition. And they can concentrate on the story without either alternate realities as in The Last Temptation of Christ or all the gore and violence of Mel Gibson's epic. Definitely worth a look by today's contemporary audience.