Le fils prodigue

Lana Turner always shown in strong contemporary dramas but for some reason was cast in this silly bible epic. She hated the whole thing and snipped pieces of her costumes off to be more revealing. Posters and publicity pictures had to paint on veils. After his brief shot at stardom in The Eqyptian,replacing Marlon Brando,Edmund Purdom was given another chance to see if he had star quality. He didn't, A competent enough player but obviously no Brando. It's OK if u watch epics for the sets and costumes but beware the overripe dialogue and tedious but efficient direction of Richard Thorpe. Thorpe's main claim to fame was he was replaced as director on the Wizard of Oz for lack of originality. He also helmed a lot of Esther Williams' swim pics. She dismissed him as a studio hack and tried unsuccessfully to have him replaced. Still,Lana looks great,manages to infuse what life she could into the proceedings,

Though the script and direction was lackluster, Lana Turner was bewitching, Joseph Wiseman a scene stealer, and Edmund Purdom very impressive in diction and mannerisms. I wish Purdom had been picked up by good directors to bring out his latent potential. Bronislaw Kaper's music was commendable.

All in all the contributions by many in this movie were notable, but somehow they lacked cohesion. Turner, Wiseman, and Purdom were all good to watch but they seem to be performing in three Biblical films made for three directors demanding different styles. Turner was epitome of Hollywood, Wiseman seemed to be playing in a French director's film, and Purdom in a British one.

A sadly boring spectacle of a biblical film, even though almost all the production values are of a high quality (except that special effect vulture). The script and direction of are simply too bland for the story, but more importantly we simply do not care about the character, and most of them are rather unsympathetic. The one redeeming performance is that of Frances L. Sullivan - and this was his last film. He deliciously adds something to each of the scenes he is in, whereas Edmund Purdom gives little throughout the film. Lana Turner is beautiful, but not sensual and her character seems too undefined to be really intriguing -that is until her demise. It is interesting to see a film such as this, where no expense has been spared, with great MGM art direction and costume design, intriguing choreography and movement, the then novel CinemaScope cinematography, and realizing fairly quickly that is simply does not hold. The above mentioned factors prevent it from being utterly boring, but my overall reaction is one of disappointment.

Based on the parable that Jesus told in St. Luke, The Prodigal is one of those biblical tales that isn't a biblical tale. Jesus told the parable of the prodigal son to show how God rejoices over any of his people who stray from the fold and return. Since it was a story to make a point the writers had a free hand to make a plot with proper biblical quotations in the script.

Edmond Purdom plays the starring role as one of two sons of Walter Hampden, the other being John Dehner who are seemingly content with their life. Dehner certainly is, but Purdom has a taste for some excitement.

While in town shopping for supplies Purdom makes essentially a grandstand play, good act that it was when he frees a mute slave played by James Mitchell from Neville Brand who is an overseer for the Baal high priest Louis Calhern. Later on Purdom cavalierly humiliates Calhern who plots a bad revenge for this slight to him and his religion.

He finds Purdom's weakness fast enough. Lana Turner who is THE Baal high priestess is something special, a lot of that due to the fact that blonds are scarce in that region of the world. And that by the way is a fact duly noted in the story. One look at her and Purdom is putty in her hands.

She leads him on quite a path of degradation, but our Prodigal hero works his way back to his father and the religion of his people.

Not that this is a great story anyway, but The Prodigal suffers from the fact that Edmond Purdom is not an actor of any great warmth. Technically proficient, Purdom never made it to the top because he was not charismatic enough to be a hero. His career was a lot like Stephen Boyd's, except Boyd realized it and became a great portrayer of villains like Messala in Ben-Hur.

As for Lana Turner, sexy yes, but Turner always fought being cast in period pieces of any kind, she always felt her best roles were in modern day dress films. Blonds did not have more fun in this film in the end. MGM was getting rid of its high priced contract players at this time and Turner was not being showcased with any great care.

The Prodigal did follow the DeMille formula of high falutin' dialog about virtue sprinkled with sex. In this film with Turner, sex laid on with a steam shovel. But it wasn't as good as those fabulous DeMille Bible epics, Samson And Delilah and The Ten Commandments.

Even when they weren't very good, those widescreen Biblical epics of the 1950's were usually "fun" in a campy sort of way. This leviathan from MGM piles on the lavish sets and costumes but manages to evoke little more than polite boredom mixed with the occasional snicker. There's no historical atmosphere here -- everything is "soundstage" -- and there's no chemistry between its leading man and leading lady. Some worthy players do pop up in the supporting cast -- Louis Calhern, Cecil Kellaway, Joseph Wiseman, etc. -- but they're usually stuck in silly headdresses which look like overturned wastebaskets. James Mitchell probably delivers the liveliest performance in the movie and he plays a mute! Poor Edmund Purdom. He starred in 20th's biggest production of 1954, "The Egyptian" -- after Marlon Brando turned down the part -- and then starred in this, MGM's biggest production of 1955, and yet this almost unprecedented, one-two whammy of multimillion dollar spectacles failed to ignite his acting career. This is puzzling inasmuch as he was a good-looking fellow with a fine voice and real acting talent but perhaps the cold, cynical nature of his two major roles kept audiences from warming to him. He soon wound up in Italian B-movies. The flogging he suffers while chained in a dungeon in "The Prodigal" did, however, win him a bit of unexpected honor. It ranks 66th in the book, "Lash! The Hundred Great Scenes of Men Being Whipped in the Movies."