Herodes, el grande

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.

As with almost every Sword and Sandals movie, you get some historical thing or figure and than the movie runs with it. In this case it does not take it and runs completely away with it, which has been the case before. No it does stay in a timeline that is quite close to History.

Having said that, do not take anything that happens at face value. This is her to entertain and while the 60s proved to be filled even more with Sword and Sandals in Italy, this has the formula/bluepring down

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.,

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.

It's one of those Italian Peplum productions, for once without any Steve Reeves, but Edmund Purdom as Herod is convincing enough, although maybe slightly too handsome for a Herod, like Massimo Girotti also is a bit too dashing for Augustus. The story is the grim drama of Herod killing off his own family - Augustus observed on one occasion that no one needed to threat Herod's family as he would soon have killed them all himself. It has the character of a melodrama, there is very little action and mainly only theatrical acting, but the actors are all good and attractive - like in all Peplum films the set designs are perfectly stylish. But that's all - no cinematography, nothing special, only drama and tears and paranoia, which Herod drives to extremes - which he also did in reality.