Quo Vadis

This movie helped usher in the age of biblical epics that were produced in the 1950's and 1960's that have not been equalled since. This film also was a first in that it much of the filming was done on location in the famous Cinecetta studios in Rome. The film is unequalled in production values, costumes, sets, musical score, etc. As far as the script is concerned, it is a bit weak, the screenplay not being adapted well from the classic novel about Rome. The only actor to watch in this is Peter Ustinov as the psychotic emperor Nero. Ustinov steals the film from everyone else.

At Last one of the great classic Hollywood blockbuster epics of the early fifties has finally found its rightful DVD home with this exceptional two disc release from Warner Home Video.

Produced by Sam Zimbalist for MGM in 1951 and expertly directed by Mervin LeRoy "Quo Vadis" was Hollywood's first wallop in the fight against the onslaught of Television. Available at first, and for many years only on VHS tape, it then began to appear on a plethora of foreign DVDs but with varying quality it must be said. One such unfortunate issue, which originated in Korea, was released without any opening credits whatsoever! I kid you not! That said - we now thankfully have it in our possession and a superb issue it is! With perfect pristine colour resolution, Robert Surtees' Acadamy Award nominated colour Cinematography comes across with well defined and plush imagery. The various cast members are attired in the most gorgeously coloured costumes. Particularly dazzling is the golden uniform worn by the picture's star Robert Taylor as he proudly bears himself aboard his golden chariot during his triumphal parade through Rome.

Also here is Miklos Rozsa's outstanding Acadamy Award nominated score! His main Roman motif, bold and strong, dominates the scenes in the Forum and in the Arena. In gentler mode is his beautiful love theme for the scenes with the star-crossed lovers Marcus and Lygia. Then there's the frenetic bacchanal-like Hymn of the Vestal Virgins followed immediately by the robust and heroic Triumphal March. Also heard on this issue - and for the first time since the original roadshow release 56 years ago - is the composer's Overture and Exit music. The great Rozsa would barely eclipse his "Vadis" music eight years later with his Oscar winning score for "Ben Hur".

The assembled cast are uniformly excellent except, perhaps, the syrupy and simpering characterization of Deborah Kerr as Lygia. But Robert Taylor is fine in what is probably his best known role as Nero's legion commander Marcus Vinicus. Outstanding is Leo Genn as Petronious - the sardonic and sarcastic confidante of the tyrannical Emperor Nero. And of course there is the wonderful Peter Ustinov chewing up every bit of scenery there is as the crazed and loony Nero. Both Ustinov and Genn were nominated for Acadamy Awards. The picture is also buoyed by some colourful and elaborate set pieces such as the Vestal Virgins singing and wildly dancing in homage to the goddess Vesta, the spectacular triumphal parade of the Roman legions taking the salute from Nero as it passes the great palace, the exciting chariot chase, the brilliantly staged burning of Rome and the harrowing scenes in the Arena as the lions are released on the hapless hymn-singing Christians.

These scenes all come across extremely well on this excellent DVD which comes with a trailer, a splendid 45 minute featurette "Quo Vadis And The Genesis of the Biblical Epic" and a commentary by one F.X. Feeney who persists in calling the leading lady's character Leega instead of Lygia and neglects to tell us that the opening narration is spoken by MGM favourite Walter Pidgeon (uncredited). However this is only a minor quibble and does nothing to diminish the greatness of this issue. Bravo Warner Home Video!!

Quo Vadis, based on the late nineteenth century novel by Henryk Sienkiewicz, has been filmed many times in many lands for the cinema and for television. It was done as a Broadway play at the turn of the last century. But this is the version that most people remember and talk about.

It's also the first of the big budget sand and scandal epics that the movies made to try and compete with that little home entertainment machine that was popping up in more and more homes. MGM built the magnificent sets the film was done on and sent Robert Taylor, Deborah Kerr and the whole cast over to Italy to shoot it. Those sets later popped up in Ben-Hur, The Fall of the Roman Empire and dozens of Italian gladiator films. Supposedly somewhere in the cast of thousands both Elizabeth Taylor and Sophia Loren appeared as extras. Spot them if you can.

Another extra was Lia DiLeo and gossip about her and Robert Taylor led to the break up of the Robert Taylor-Barbara Stanwyck marriage.

The story is about Robert Taylor as Marcus Vinicius, Roman soldier and his lust then love for Christian girl Lygia played by Deborah Kerr. Their story is set against the background of the early Christian church in Rome and the persecution of it by the Emperor Nero.

Taylor and Kerr are fine in the leads, but in this case the supporting cast really overshadowed the stars. Peter Ustinov as Nero and Leo Genn as Petronius were both nominated for Best Supporting Actor of 1951, but lost to Karl Malden in Streetcar Named Desire.

Peter Ustinov got a once in a lifetime part as Nero. It's the kind of role that one can overact outrageously and still convey all the sinister impulses that this villain possessed. Ustinov was compared with Charles Laughton as Nero in The Sign of the Cross and I wouldn't dare say who was better.

My favorite part in this film has always been Leo Genn as Gaius Petronius. He's the only actor in the film who's holding his own with Ustinov. He's a pretty smart guy this Petronius, keeping his place at the court by flattery and guile. It's a bitter pill for him to swallow when after Nero burns Rome, the Rome he loves and has dedicated his life to. He could have prevented it by taking a righteous stand against the tyrant. But instead he played the cynic once too often and decides what he deems to be the only course of action open to him.

Finlay Currie is a strong and hearty, but aged St. Peter. My conception of St. Peter has always been that of Finlay Currie and in his youth that of Howard Keel in The Big Fisherman. Peter's a hands on kind of pastor used to hard work. After all he was a fisherman in his younger days and that certainly is outdoor work.

Whether people are confirmed Christians or not will depend on how they take this film. We all can certainly admire the spectacle and the talent of the players. And nobody questions the atrocities committed by Emperor Nero against the early Christians.

But at one point after Taylor realizes his love for Kerr, he makes what I consider a quite reasonable offer to allow her to continue in her faith and he'll even put up whatever kind of chapel on the house grounds for that purpose. Not so says Kerr, it's going to be all or nothing. That all or nothing attitude today has got a few people upset with organized religion for various reasons. But that's in the distant future from the First Century AD.

A fellow IMDb-er from Poland, defending Henryk Sienkiewicz's monumental, Nobel Prize-winning novel (which I HAVE read, by the way) calls this M-G-M Technicolor spectacle "CRAP"!

Please! The novel is incredibly dense and detailed; possibly a lot truer to what was known in the early part of the twentieth century of the actual events of the time of its plot; with lots of references to the cruelty and luxury of Nero's Rome; frequent mentions of the pervasive nudity under all kinds of circumstances among the Romans of the time; and, given its length, a perhaps more respectful view of the emergence of Christianity at a time when its converts risked their very lives to admit their beliefs. There is no way that even a multi-part TV mini-(I mean, maxi-)series could come close to approximating the novel's overwhelming complexity.

But, as a piece of filmed entertainment, this cinema extravaganza is not at all worthy of being consigned to the proverbial garbage heap. The cast, yes, including Robert Taylor and Deborah Kerr, but, especially the supporting actors (Peter Ustinov, of course; plus Leo Genn, in particular, as well as Patricia Laffan, Marina Berti, Finlay Currie, Felix Aylmer, Rosalie Crutchley, et al.) all take full advantage of a script that had many witty as well as dramatic moments and, for its day, a fairly reverent (though not historically accurate) rendering of Christianity's emergence in a hostile Roman world.

In addition its production values have never been surpassed; in fact, they've never been equalled. One understands how beleaguered those of Polish descent often must feel (I, for one, have never been a fan of so-called "Polish jokes."), but let's not set impossible standards for a translation of one of Poland's most memorable literary achievements! This production is an example of Hollywood marshalling some impressive resources, while avoiding more than a modicum of the cliches that can sabotage such a project. It may not honor its source as some might wish, but it's still a quite grand and opulently eye-filling way to enjoy close to three hours.

General Marcus Vinicius (Robert Taylor) returns to Rome after battle and falls in love with Lygia (Deborah Kerr), an adopted daughter of a fellow general, but effectively a hostage and considered a no no. When she is presented to him as a gift, things are further compounded by the fact that she is in secret a Christian. Enter Emperor Nero (Peter Ustinov) who orders that all Christians must be thrown to the lions, leaving Marcus with no option but to deny his Pretorian ways and to try and save Lygia and her family. Rome, will never be the same again.

A big, bold and lavish historical epic out of Metro-Goldwyn-Mayer that's directed by Mervyn LeRoy, shot in glorious Technicolor by Robert Surtees & William V. Skall and is scored by Miklós Rózsa. Joining the big hitters in the cast are Leo Genn, Finlay Currie, Felix Aylmer & Abraham Sofaer. While the adaptation of Henryk Sienkiewicz's novel is written by S. N. Behrman, Sonya Levien & John Lee Mahin. There's no denying that Quo Vadis, meaning "where are you going" and appertaining to the encounter between St Peter and Jesus Christ on the Appian Way, is a technical spectacle. It's also tough going for its over talky melodramatics during the first 90 minutes, but you just have to stay with it, once you are in, you are in for the long haul. A whole afternoon in my case!

For its time, this was the bigger than than biggest, a studios dream, the cast of thousands, the sets, the costumes and the gazillion speaking parts that make up the story. It's also a point where the historical epic became more than just entertainment and a reason to make money. No doubt about it, Quo Vadis is very pro Christian, it has something to say, even if ultimately it takes a long time to say it and is historically dubious. There's thought and intelligence within, with that, it pays to pay attention and sample the dialogue whilst feasting your eyes on the magnificence that surrounds the characters. Once the worthwhile action kicks in, it's no let down, the fights in the Coliseum, the burning of Rome (we can thank the great Anthony Mann for that one) and the dramatic climax, all make the time spent leading up to them more than worth it. The cast are mostly agreeable, Kerr is gorgeous as ever and Taylor is, ahem, straight as ever, while Ustinov goes full tilt campy loony. Genn steals the movie as Petronius while Patricia Laffan as Poppaea Sabina gives one of the most sensually minx like portrayals given in an historical epic.

Some may find the religiose aspects over bearing, but the spectacle does win out. Looking as gorgeous as ever now after being remastered, Quo Vadis is a must see for like minded historical epic fans. It's some way down the pecking order of the genre greats, but still a must see movie regardless. 7/10