Herodes, el grande

This Biblic Peplum deals about all the passion and power in the pagan court of history's mad and lustful king . There Herod (Edmund Purdom) , King of Judea , married to Miriam (Sylvia Lopez) and happens dramatic happenings . It is set in Jerusalen , after battle of Actium when is defeated Marcus Antonius and Cleopatra , being victorious Octavius Augustus (Massimo Giroti) . Herodes who supported Antonius is taken prisoner by the Romans . Convinced Herod is dead , his faithful official named Aaron (Alberto Lupo) , is nevertheless unable to keep his swearing to murder the Queen if something untoward happened to the ruler . Herod's pleas to Augustus are successful and he goes back to his famous palace . His son , Antipater or Herod Antipas (Corrado Pani) , tells Herod that Aaron has double-crossed him . Then , Herod turned a madman who killed his own family and a great many lieutenants ; later on , King Herod ordered the killing of the new born babies , taking place the known massacre of innocents and appearance the holy star of Belen where was born Jesus .

This epic Italian movie packs drama , thrills , marvelous scenarios and hokey historical events . Nice production design and enjoyable gowns , but little action . Mediocre interpretations headed by Edmund Purdom , an American actor who emigrated Italy and played several historical and Sword and Sandal movies such as Sinuhe the Egyptian , The prodigal , Salambo , Nefertiti, Regina Del Nilo ; and of course Sylvia Lopez , a gorgeous actress who early died at age 26 by cancer illness . Furthermore , the Italian sex-symbol Sandra Milo along with other actors usual of Peplum as Alberto Lupo , Corrado Pani , Renato Baldini , Enzo Fiermonti and Massimo Giroti , Terence Hill 's father . Evocative as well as colorful cinematography by prestigious cameraman Massimo Dallamano , also a filmmaker . Atmospheric musical score by Carlo Savina , Pepum and Spaghetti's ordinary . The motion picture was professionally directed by Viktor Tourjansky , though with no originality . He was a Russian film director who emigrated after the communist revolution of 1917, and worked in several countries , and mostly in Italy . Tourjansky directed period epic films, such as Le Triomphe Michel Strogoff 1961 , Prisoner of the Volga (1959), The Cossacks (1960), The pharaoh's woman (1960) , The Venus of Cheronea (1957) , some of which were considered among his better works. During the 1950s and 1960s he was wintering in Italy and worked there as producer and writer under the artistic name Arnaldo Genoino.

The picture is partially based on historical deeds , these are the followings : Herod , also known as Herod the Great (born 73 or 74 BC, died 4 BC in Jericho , was a Roman client king of Judea. His epithet of "the Great" is widely disputed as he is described as "a madman who murdered his own family and a great many rabbis. He is also known for his colossal building projects in Jerusalem and elsewhere, including his expansion of the Second Temple in Jerusalem (sometimes referred to as Herod's Temple) and the construction of the port at Caesarea Maritima. Important details of his biography are gleaned from the works of the 1st century AD Roman-Jewish historian Josephus Flavius. The Romans made Herod's son Herod Archelaus ethnarch of Judea, Samaria, and Idumea from 4 BC to 6 AD, referred to as the Tetrarchy of Judea. Archelaus was judged incompetent by the Roman emperor Augustus who then combined Samaria, Judea proper and Idumea into Iudaea province under rule of a prefect until 41. Herod's other son Herod Antipas was Tetrarch of Galilee from 4 BC–39 AD.

A lazy and failed Italian peplum of the fifties.

The film is inspired by the sadly famous king of Judea Herod the Great, considered a villain in the gospels for being responsible for the massacre of the innocent saints, although some historians question the truth of these events.

Regarding the film the figure of Herod, here is embodied by the Englishman Edmund Purdom, who gives presence to the character but who never manages to give true intensity to his interpretation. The same goes for the rest of the cast who fail to emerge in their characters by offering soulless and passionless performances.

Although it may seem so. This is not a biography of the mythical king, because he does not pay attention to his work as a builder and the prosperity that he brought to the Jewish people but that the film focuses only on his family dramas, there is hardly any action his always complicated relations with Octavio are touched superficially and it has become tedious and uninteresting for a historical figure that gave more of itself.

Their photography costumes and decorations recreated with some luxury are saved.

Otherwise a forgettable film.

Thank you.,

No sooner did I state in my review of THE PRODIGAL (1955) above that it was going to be my only tribute to the late Edmund Purdom, that a visit to the local DVD rental shop also provided me with the opportunity to watch this Italian biblical flick. Unfortunately, the end results were even less satisfactory than that earlier Hollywood epic! For one thing, Purdom makes for a decidedly wooden ruler of Judea who, at the film's start, is seen returning from a lost battle against Octavius Caesar(!) to find all of his elderly subjects (who, naturally, had stayed home) seemingly out for his blood! Even his son and mother-in-law openly hate and scorn him! Eventually, Herod regains his composure with the appearance of his wife – and how could it have been otherwise when she is portrayed by the red-headed, curvaceous beauty Sylvia Lopez? Tragically, in real life she would be dead of leukemia before the year was out but not before making Steve Reeves' head spin in her most significant role in HERCULES UNCHAINED (1959)! Out of the blue, then, the film's second half takes the form of a retread of Shakespeare's "Othello" with Purdom the jilted monarch, Lopez the compromised queen, Alberto Lupo as Herod's innocent right-hand man and Corrado Pani (as young Herod Antipas) as his Iago-ish brand new confidant! The strain is too much for Herod-Purdom to bear and, a little while after ordering the proverbial slaughtering of Judea's first born, he just keels over and dies at the foot of his throne! Ugh…which is a pity since a few months ago I had rather enjoyed Purdom's next collaboration with director Tourjansky, THE COSSACKS (1960) – which also shares at least three other distinguished participants (actor Massimo Girotti, screenwriter Damiano Damiani and cinematographer Massimo Dallamano) with this one.

The acting in this Italian spaghetti sword and sandal film is really second-rate; there isn't a good performance in the whole lot of characters. Purdom is as hammy as a German deli, and his queen's red hair does not exactly look like it is very real. Neither is her acting.

It is interesting to see what happened to Herod after he crucified Christ, but the film gets bogged down in silly and romantic intrigues that, to say the least, are not very interesting. I did enjoy the stoning sequence, however, although tomatoes would have been more appropriate; pelatis even better.

There is really no development of any characters outside of Herod and the Queen, and we are left with Aaron dangling in the breeze.

This has all the makings of a great story - the legendary Herod the Great, a twist of Anthony and Cleopatra and some good, old fashioned, court intrigue... What we get, however, is a poorly constructed sword and sandals offering featuring some rather poor performances from Edmund Purdom in the title role and Sylvia Lopez as his Queen "Mariam". It's actually fairly accurate - historically speaking - but the execution is so haphazard and lacklustre that it soon becomes quite an effort to watch, and it's equivalent of the 'Dance of the 7 Veils" is a distinctly wooden effort. The staging and costumes are efficient, and had the cast and writing been just a little stronger then this could have been good... but it wasn't/isn't.