El pescador de Galilea

Howard Keel says in his posthumously published memoirs that he grabbed the part of Simon Peter in The Big Fisherman to prove his versatility as an actor. Musicals were pretty much done by that time and he was free of his MGM contract.

He got the role after John Wayne turned the part down. That one was an eye opener I have to say. My conception of St. Peter has always been that of a big hale and hearty man used to working in the outdoors. We see an older Peter in Quo Vadis with Finlay Currie and now we have a younger one in Keel.

Still I can't believe that Frank Borzage wanted John Wayne. After coming off that disaster in The Barbarian and the Geisha, the Duke wisely turned this one down.

Keel does give a good performance as Peter. Other than Keel the player best remembered for this film is Ray Stricklyn as the evil young Arab prince.

It's good to remember that this is a fictional story about a biblical figure though some scenes of events described in the Bible are in the film. Nevertheless there are some plot flaws. Peter goes among the Arabs here and this was six centuries before Mohammed came on the scene. If you were to follow the logic of the film, the Arab people would have been converted to Christianity. Now maybe it would have saved us all a lot of bloodshed over the centuries had they, still even in a work of fiction that's a bit much to swallow.

Keel liked making the film and had high hopes for it. Unfortunately it ran up against Ben-Hur another filmed biblically based novel this time with the protagonist being a fictional character. Additionally The Big Fisherman got lost somewhere in the corporate doings of Buena Vista Films and the Walt Disney studio. Back in the Fifties, Buena Vista did distribute films not necessarily with the Walt Disney brand on them. It's been seen on television a few times, I saw it again about 12 years ago. It should be seen in theaters though. Like Ben-Hur something is lost even with a letter box version.

But can you imagine John Wayne as St. Peter? Turn that one over in your minds.

I am a film producer and director. I have always had a soft spot for this underrated Biblical epic, which I saw in 70mm at the time of its release.

This was the first film shot in Super Panavision 70, the spherical (non-anamorphic) 70mm format. In the film's titles it is called Panavision 70.

There are many production values which deserve mention. The acting is uniformly good, but the particular stand-outs include the cinematography and Albert Hay Malotte's fine music score.

My contacts in the motion picture industry inform me that Disney has no plans whatsoever to re-release the film in any commercial format. The studio does not consider the film to have sufficient marketing potential.

I saw this one during its initial release at a theater in Palm Springs, California (now used only for stage shows and live presentations...one has to go a few miles out of the downtown area to find a multiplex, at least during my last visit there a year or so ago.) The 70mm cinematography (using the same units, borrowed presumably from M-G-M, that had been shipped to Rome to lens "Ben-Hur" - in "M-G-M Camera 65" - a "Window of the World" as the studio had touted it for the first production in that process, 1957's "Raintree County" starring Elizabeth Taylor and Montgomery Clift) is stunning, making great use of the Salton Sea area, a few miles from Palm Springs itself. I don't remember this film all that well, but I do recall that Herbert Lom and Martha Hyer, as Herod Antipas and his evil consort, Herodias, achieved chillingly corrupt portrayals, under the steady hand of old Hollywood veteran, Frank Borzage.

One wonders who now holds the rights to this film, for it would certainly be a title that might do well given a good transfer to DVD.

Walt Disney arranged for Buena Vista Distribution (a company formed to release Disney films instead of RKO) to release the film as he wanted a long biblical epic to compete with the other major studios. In particular, he wanted to cash in on their successes, particularly that of BEN-HUR. One reviewer even commented that this production borrowed the MGM Camera 65 cameras used to film BEN-HUR.

THE BIG FISHERMAN was nominated for several Oscars, a testament to the quality of the film and its technical professionals. Of course, it lost to BEN-HUR (almost everybody lost to BEN-HUR).

In the mid-1970's, I worked at the Disney Studios in 16mm film distribution (mostly to schools and airlines as this was prior to the rise of home video). I located some 16mm anamorphic (scope) prints of THE BIG FISHERMAN.

Using a dialog continuity script as a guide, I managed to reconstruct a decent, complete print and turned it over to my management, thinking it would be a great 16mm rental title. It wasn't accepted for that medium, but a few years later, SFM MEDIA CORPORATION distributed it to TV (in a pan-and-scan version only).

The film is based on Lloyd C. Douglas' novel, a sequel to his massive bestselling book THE ROBE. The performances are consistently excellent. Howard Keel creates a moving and heart-felt portrait of Simon/Peter. There are several other standout performances. For example, Jonathan Harris as the chief steward in the palace of Herod Antipas. This was before his memorable turn as Dr. Zachary Smith in LOST IN SPACE. The best way to describe his characterization is to borrow a line from MY FAIR LADY: "Oozing charm from every pour, he oiled his way around the floor." Herbet Lom and Martha Hyer (as Antipas and Herodias) are particular standouts.

Also, Ray Stricklyn as Deran, the evil son of the Arabian king, who has an unhealthy lust for Princess Fara (Susan Kohner), whose heart belongs to Prince Voldi (John Saxon). Kohner and Saxon create a very believable chemistry of two star-crossed lovers.

When Deran dies suddenly of a heart attack while addressing his chiefs, who surround him on horseback, his passing is remarked on by two lines of dialog: "I think he is dead," says one chief. Another chief, looking at the body on the ground before him, replies, "Let us let him lay there until we are certain."

It is a pity that this title is not available on video, preferably on DVD, where it's widescreen image can be preserved. I'm surprised that TCM hasn't gotten hold of this, unless it's a case of who owns the legal rights; possibly Buena Vista, the original distributor (which, of course, involves the Walt Disney Studios, who have their own strong home video distribution system). Perhaps these copyright owners feel that no decent elements exist for a DVD transfer. Perhaps they feel that the title just wouldn't find a large enough market to justify the cost of transferring such a long movie. That is a misguided belief. Anyway, it's still a pity. It deserves to be seen again.

I like the film the technicolor is bold, the scenery is so great. And the acting superb. I have it on tape and I watch it maybe twice a year. I saw it in the theater when it first came out. It made John Saxon one of my favorites. His smoldering good looks and the romance of his love for Fara make the story even more exciting. I liked the story line no one today wants to make an epic movie about the effects of Jesus on their lives. At the time this movie was made people enjoyed those types of movies and were not afraid to make them. I would recommend this movie to anyone. It has wonderful cast, and the story is quite believable. I have never gotten tired of watching it.