Barrabás

Barabbas (Anthony Quinn) , a thief and killer , is set free by Pontius Pilatus (Arthur Kennedy) in place of Jesus who is condemned to die crucified . Then , Barabbas suffering living anguish by this deed for the rest of his existence . But again he's detained and sent to horrible sulfur mines in Sicily , including terrible work conditions ; there he meets a kind Christian named Sahak (Vittorio Gassman) . Later on , he is brought to a school of gladiators run by cruel Torvald (a sadistic Jack Palance) . In Rome Barabbas meets other Christians (Ernest Borgnine) and Saint Peter (Harry Andrews) .

This epic film contains spectacular scenarios , lavish production and terrific performances . Second movie version of the renowned story based on popular novel by Lagerkvist (Nobel's prize) and previously adapted (1952) in Sweden by Alf Sjoberg . Interesting screenplay by Christopher Fry (who wrote ¨The Bible¨ by John Huston also produced by Dino De Laurentiis) . Top-notch performance by Anthony Quinn , he plays like his previous characters , a Zorba style, adding a little of Quaimodo , though sometimes overacting . Jesus is played by Roy Mangano , brother of Silvana Mangano , Laurentiis's wife . Extraordinary support cast , including prestigious players such as Arthur Kennedy , Katy Jurado , Ernest Borgnine , Arnaldo Foa , Norman Wooland , Douglas Fowley and even Sharon Tate was an extra in the amphitheater scene .

The overwhelming circus scenes were shot in the arena of Verona . Impressive sets produced in high budget , such as the scenarios of the mines and the Roman circus . Magnificently climatic gladiators fights , featured by hundreds of extras and stunning effects . The breathtaking gladiator combats is still one of the best screen fights today , along with ¨Gladiator¨ by Ridley Scott . The Golgota crucifixion scenes were actually shot in a sun eclipse and filmed in Niza . In fact , the solar eclipse that takes place during the crucifixion scene was the real thing, an event for which director Richard Fleischer delayed shooting in order to capture the ethereal nature of the phenomenon . Problems lingered on the set and at a cost of over ten million of dollars , it was one of the most expensive pictures of its time and took long time to finish . Colorful cinematography by Aldo Tonti and evocative musical score by Mario Nascimbene . Firstly , the producer De Laurentiis thought in charge direction to Federico Fellini , though he appointed to Richard Fleischer who realizes a quality film-making .

In one of the first scenes Barabbas steps out of his dark prison cell to find the peculiar glinting figure of the man who's going to take his place on the cross and rubbing his eyes says he's not used to the light.

So here we have both facets that make this interesting. It is, more so than Ben Hur and perhaps even Spartacus, less grand in the cinematic brushstroke but more troubled and honestly so about the spiritual picture it paints, more human.

It starts with what we know as a spiritual narrative, Pilates' trial of Jesus, but approaches it in the historic light. It follows only the last legs of that narrative from the crucifixion on but does so through Barabbas' questioning eyes. We assume divinity because it's that story but the body could have been stolen, the eclipse natural; it all might just be a story about god.

The spiritual question that looms is why doesn't god make himself plain? If this is a spiritual narrative as the newly devout insist throughout, why is it so hard to discern its truth?

Barabbas finds it hard to believe so returns to his banditry which opens up a cycle of sinking deeper into a life of meaningless toil and punishment, seen most clearly in the sulphur mines where each subsequent year the slaves are lowered to a deeper level as their eyes become accustomed to the dark, again eyes tied to light.

It isn't so just for him of course, Christians suffer next to him so what difference does it make, faith or god?

There's a scene where a Christian lectures gladiators that their pagan gods are fictions that will be sure to amuse modern viewers. But this was the powerful reality of early Christianity, the only time it truly mattered. Christians could point to a specific time and place where god appeared as part of history, I can only imagine the invigorating urgency. It had all become clear, linear. They did joyfully expect to see his return within their lifetime.

There is something powerful to be gleaned here; life isn't any better for the believers than Barabbas, the whole difference has nothing to do with the material facts, it's all about the light in which you choose to see. The tragic irony is that when Barabbas chooses to believe it is only out of guilt, a madness that is the fire he sets to things (this is during Nero's fire) that is his belief that the anticipated return would be fiery like this.

So forget that it's a religious spectacle we watch during Lent and carries that form, this is more erudite than usual and deserves to be seen next to Stromboli about the difficulties of faith.

Having been an Anthony Quinn fan for many years, I came across this video recently and rented it. I wasn't sure what to expect, but was pleasantly surprised to see quite a different performance from Quinn. While he had moments of gruffness, for the most part he tackled this role as the confused, tormented Barrabas with a great deal of inner work. The most impressive moments where when his face reflected the conflicts of belief, choice, and commitment. As one of the most famous individuals in history it was an imaginative characterization of Barrabas, much like the other enigmatic individual in Christianity -Judas- as characterized by Ian McShane in Jesus of Nazareth (1977).

Wonderful music score, and cinematography. Notice especially the care given to the staging of the scourging of Jesus in the beginning of the film -silence except for Heaven's angels screaming in anguish. Breathtaking.

Whatever happened to that guy who was let off the hook when Jesus was crucified? Here is a fictional account of his life after he was released in Jesus' place. Quinn plays the title character, a thief and rabble-rouser who is set to be crucified when a technicality allows one prisoner to be released due to a holy day. It is brought up in order to free Jesus, but the crowd instead calls for Barabbas' freedom and stay of execution. Quinn spots Jesus briefly through piercing sunlight, then finds himself touching the blood that he's left on a post. He shakes it off and returns home only to find that his lover (Mangano) has fallen under Jesus' spell and won't play anymore. Soon, he has returned to his old ways and when he's arrested, he discovers he can't be killed due to the same technicality that freed him the first time! So he's shipped off to a harrowing sulfur mine where he is chained to man after man, each of them dying in turn until he's paired with an ideological Christian (Gassman.) Circumstances then lead this pair to the Roman Coliseum where they are trained in the art of gladiatorial combat and must face down the deranged and powerful Palance. As the many years go by, Quinn finds himself tempted to believe in Jesus, but always wavering until finally he must make a choice. The film is epic in story and scope with several memorable sequences including a solar eclipse, a stoning execution, a cataclysmic cave-in and a spectacular visit to the Coliseum. The film must be seen in its wide-screen format in order to appreciate the magnitude of its composition. Quinn gives an understated performance with surprisingly little dialogue. His grunting, mumbling approach near the beginning fortunately gives way to a more comprehensible, accessible performance later. The film has a parade of famous actors each of whom is billed in order of appearance except for Mangano (who unfairly gets special treatment due to her marriage to the producer!) It's really Quinn's show, but several others get a chance to shine. Gassman is given a heroic and dignified role, Andrews adds weight to the film with his surehanded presence and Palance is quite notable as the unbeatable gladiator. With his ear-to-ear, snarling grin and his stony stares at his opponents, he presents a formidable foe in the arena. The production is quite eye-filling and visually arresting, but also relentlessly downbeat. Jurado, as Quinn's second favorite bed-mate, adds a little earthy humor to the proceedings, but is dispatched without much ado. There is a tad of unintentional humor along the way thanks to some of the conventions of film-making at the time, but mostly from the entire sequence featuring Lazarus, recently risen from the dead and not looking too great for it! The hysterically wan and creepy looking performer does little to encourage anyone's desire to be resurrected! It's an oddly under-appreciated film, though, which can stand proudly aside its cousins such as "Ben-Hur" and "Spartacus".

How incredibly appropriate if not downright eerie that the sun should turn on a full eclipse during the filming of BARABBAS that was captured by the Technirama 70 cameras for the crucifixion scene.

Arguably the "forgotten epic" when talk of the 60's blockbusters brings inevitably mention of BEN HUR, KING OF KINGS, FALL OF THE ROMAN EMPIRE, SPARTACUS, LAWRENCE OF ARABIA, GENGHIS KHAN, CLEOPATRA, SODOM AND GOMORRAH, etc. Many see in this film an individual depth and emotion, lacking in other such works. Quinn in fact brings (despite the poetic license taken with historical confirmation) to Barabbas, a portrayal of a man tortured by his past, his reason to still be alive and his destiny. From the claustrophobic escape from the sulphur mines to his gladiatorial deeds in the arena, Barrabas is a driven man of open-ended religious conviction. He embraces Christianity but does he understand it? He saw Christ die in his place and lived his life to find out why!

Palance whose face has been his career, was the ONLY choice as Torvald the head gladiator who lives only to kill! It was one of his best ever roles.

I saw this film in London at its premiere in 1962. It received luke-warm critical reception at the time but had a successful run in the West End of some six months or so. Has had far less screening on television and cable than other epics of its ilk which is a pity as it had a lot to offer the discriminating viewer.