La tunique

There seems to be little interest in this movie today but when originally released in 1953, it created a sensation and threatened, for a while, to replace "Gone With the Wind" as the highest-grossing film in history. And it was the first movie in CinemaScope -- "The Modern Entertainment Miracle You See Without the Use of Glasses!" Its opening half still plays well, even some 50 years later, but the second half tries to convincingly present the religious conversion of Marcellus -- a tricky proposition since it deals with an internal process -- and the result plays like a well-intentioned but rather simplistic Sunday sermon. Richard Burton was Oscar-nominated for his work but is clearly outshone by, of all people, Victor Mature as the slave, Demetrius. The scene of a sweaty, nearly naked Demetrius groaning and writhing under torture in a Roman dungeon helped establish Mature as "the back that launched a thousand whips." (The book "Lash! The Hundred Great Scenes of Men Being Whipped in the Movies" is dedicated to him.) Mature played Demetrius again in one of the rare big-budget sequels of the 1950s, "Demetrius and the Gladiators," which wasn't very good but which was livelier and more "fun" than its pious predecessor.

The Robe comes from a tradition of historical biblical fiction about a peripheral incident and/or character. It is in the same vein as Ben-Hur and Barabbas, films adapted from a similar source.

In this case it is Jesus's robe that he wore to the crucifixion. It is recorded that while He was on the cross waiting to die, Roman soldiers idled their time away by casting dice for the only possession He took to his death, his robe. The lucky winner turned out to be Richard Burton, a tribune recently sent on assignment because of a running feud with the Emperor to be.

The run in with Caligula was over a slave purchased by Burton, a Greek named Demetrius played by Victor Mature. Both Burton and Mature are exiled to Judea and they arrive just in time to see Jesus enter Jerusalem. Mature becomes converted to Jesus's teachings and Burton is driven mad by the enormity of what he has participated in.

The Robe was written by Lloyd C. Douglas who was an ordained Lutheran minister and who turned to writing at the age of 50 with his first best seller Magnificent Obsession. His writings were of the Christian inspirational variety and he was a very popular American writer right up to his death in 1951.

Richard Burton got one of his Academy Award nominations for his role. Jean Simmons as Diana who was the main source of his rivalry with Caligula gives a good understated performance of the woman who stood by the man she loved and his fate and passed up a chance to be an Empress.

Jay Robinson as Caligula got most of the notice. Although John Hurt in the I Claudius series is probably now the definitive Caligula, Robinson's performance holds up very well indeed. A substance abuse problem curtailed a promising career and though he did come back it was not the same.

The Robe was 20th Century Fox's first film in its new wide screen process of Cinemascope and really should be seen in a letter box version at home. Richard Burton is always good and elevates whatever film he's in.

Though in this case the subject matter is elevated just about as high as it can get.

It's the 18th year of Roman emperor Tiberius which would make this 32AD. Rome is a land of slaves. Marcellus Gallio (Richard Burton) is a Roman military tribune and a Senator's son. He is entranced by Diana (Jean Simmons) while walking the slave market. It's been 12 years since the childhood friends last met and she is pledged to regent Caligula. In a public spat against Caligula, he outbids the regent to buy slave Demetrius (Victor Mature) from Corinth. Later, he crucifies a religious zealot named Jesus of Nazareth.

It's an old fashion biblical epic. It's early CinemaScope process. It did win Art Direction and Costume but fail to win three bigger Oscars. This is not quite as recognized today as other biblical epics. There are big sets and lots of costumes but it doesn't have the big action sequences. It does show the conversion story pretty well, but that's more character work than thrilling. In a way, this is a more humble Christian film and less flashy Hollywood.

This was the first film in Cinemascope, I still remember how the people used to talk about this new system, and I saw the film for the first time few months after its release in USA. From it I learnt for ever that Tiberio came after Augustus, followed by Caligula and Claudio. Good for me in history. However, the film is historically wrong. Jesus developed himself, as he was, during the period of Claudio emperor and not during the Caligula's one. If you have any doubt, I recommend you to read "I Claudius" and "Claudius Emperor" of the writer Robert Greaves. Every year during Easter or Christmas you have the opportunity to see this film in Italy. After seen it so many times (it is always good to see the example of Jesus) one may come to the conclusion that the director, Henry Koster wanted to show how even those who killed Jesus became forgiven and wanted to do good things in favor of the new religion and how the behavior of Pietro and Jesus, already died, influenced the way of thinking of many people even in Imperialistic Rome. So the plot may be historically wrong, but its content is good. Ethics of Christianism have a lot of actual values for present societies.

This film has much that makes it stand out among the cross and sandals epics of the fifties and sixties. based on the best selling novel by Lloyd C. Douglas, helmed by Hollywood first rank director Henry Koster, the work has a string of memorable performances. Richard Burton, admittedly not a favorite actor of mine does a credible turn in the lead role of Marcellus, while the lovely Jean Simmons is incredible as the young woman he loves, Diana. Michael Rennie is a quiet but forceful Peter, while Jay Robinson steals the picture as the depraved Emperor Caligula. The minor roles are also well acted. The cinematography is magnificent, while the film is tied together beautifully by the eerie and haunting musical score of Alfred Newman, a prim film composer of his day. Altogether a very watchable movie that even the most fundamental Christian could not find fault with.

If there is one failing with the story, and it is a minor one, Emperor Tiberias is presented as an honorable ruler and not as the depraved lecher he really was. He only comes off looking as well in history as he was because his grandson Caligula was so much worse.