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 .

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.

BARABBAS rocks. We saw it at the drive-in in the early 60's and the whole family loved it, all nine of us. I'm not always enamored with Anthony Quinn. Sometimes he seems conceited. But as Barabbas he is brilliantly humble, yet powerful. This is by far, his best movie ever. His faces say a thousand words a thousand times. It's as though he was transformed and really became the character, not played it. He is stoic and disturbed, tortured by the crisis within his soul. Barabbas is the man the crowd chose over Christ and this is a fictionalized account of his life after Christ was crucified. Jack Palance gives the second greatest performance of his life as the man who trains, and sometimes kills, gladiators. That evil laugh. That face. What corner of hell gave birth to this man? It's almost as good as his Jack Wilson gunfighter role in Shane. Palance is so mean in Barabbas that all sorts of pacifists would gladly kill him if they had the chance. There are a couple of slow spots but the sets are fantastic and the story is great.

How did Jack Palance sleep at night?

Pontius Pilate asks the people of Jerusalem whom they want freed, Jesus Of Nazareth or Barrabas?, the former has been tagged as a King of the Jewish people, the latter a thief and a murderer, they choose Barrabas.

This is a pure work of fiction based around the 1950 Pär Lagerkvist novel of the same name. It has basically taken a passage in the New Testament and extended it to ask what became of the man who was freed instead of Christ? We open of course with the people choosing Barrabas, and the subsequent Crucifixion of Christ that is now scripture legend. This event doesn't at first seem to bother Barrabas, but as the story progresses it becomes clear that he himself has his own cross to bear. We follow him as he witnesses a barbaric stoning of someone close to him, this turns him bitter and a return to a life of crime is his only response. Once again arrested, he is sent to work in the sulphur mines, here he ages fast and hangs on desperately to his life and sanity. He forms a friendship with a fellow inmate and after both men get sent to gladiator school, he finds that the faith surrounding Christ looms large and bright in his life story.

Richard Fleischer directs, producer is Dino De Laurentus, Anthony Quinn takes the role of Barrabas, and Jack Palance and Ernest Borgnine add weight to the acting roll call. There is some very good work to be sampled here, Quinn manages to put a bit of sincerity into the lead role; for as Barrabas' perspective alters, Quinn convinces with a nice show of depth. Palance is decently nasty as Torvald, and although Ernest Borgnine is wasted as Lucius, he does however leave a very decent impression due to a good show of acting restraint. There are some lovely shots here as well, particularly around the sulphur mines sequences, whilst both the sets and costumes are suitably on the money.

Barrabas is a film that is rarely mentioned when talk of biblical epics arises, and the small amount of user comments here suggests it's largely forgotten. That's a shame because it holds up considerably better than the likes of The Robe. 7/10

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.