Barabbas

Having been an Anthony Quinn fan for many years, I came across this video recently and rented it. I wasn't sure what to expect, but was pleasantly surprised to see quite a different performance from Quinn. While he had moments of gruffness, for the most part he tackled this role as the confused, tormented Barrabas with a great deal of inner work. The most impressive moments where when his face reflected the conflicts of belief, choice, and commitment. As one of the most famous individuals in history it was an imaginative characterization of Barrabas, much like the other enigmatic individual in Christianity -Judas- as characterized by Ian McShane in Jesus of Nazareth (1977).

Wonderful music score, and cinematography. Notice especially the care given to the staging of the scourging of Jesus in the beginning of the film -silence except for Heaven's angels screaming in anguish. Breathtaking.

Who cannot resist seeing a film with a cast like Anthony Quinn, Jack Palance, Ernest Borgnine and Harry Andrews? The cast and my general interest in biblical epic films were my reasons for seeing Barabbas. It's imperfect and could have been better, but there are also a lot of fantastic things. And when it comes to biblical epics, while not definitive or masterpiece status Barabbas is towards the better end of the spectrum.

Barabbas is very grand in scale visually. The sets and costumes are very lavish, the use of amber-orange gives the film a very soothing look and there's some truly breath-taking cinematography. The music score is incredibly powerful and the very meaning of stirringly epic. Also in terms of how it's orchestrated and recorded it's quite innovative with its experimental sounds. The script has its foibles but is a vast majority of the time intelligent and thoughtful, Richard Fleischer directs with a fine sense of period and an understanding to using the action and set pieces to their fullest potential and the story has many compelling moments. Especially true to this are the crucifixion set against a real eclipse of the fun, easily the most striking image of the film, and the climax in the arena, which is the most dramatically compelling and entertaining Barabbas gets.

Rachel's stoning(a heart-wrenching moment), the burning of Rome and the sulphur mines collapse are equally unforgettable scenes. The action is very exciting, so much so that it outweighs the film's dull stretches, and emotionally Barabbas is genuinely heartfelt and sincere. The cast is a uniformly talented one and all performances(despite the characters varying in how well-written they are) range from solid to great. Anthony Quinn portrays titular character Barabbas as a tortured, guilt-ridden soul and portrays this very movingly and with a great deal of intimacy. Not many actors succeed in bringing humanity to a criminal but Quinn manages to do that. Of the supporting cast, the standout is Jack Palance, whose performance as the snarling villain Torvald is an evil-incarnate powerhouse.

The film is let down chiefly by its pacing however. Not all of the time, mind, but the first half in particular is very stodgily paced and not always very eventful before properly coming to life in the stoning scene. There are a lot of references to Jesus which were dealt with rather heavy-handedly at times, some speeches ramble on a little too much and lose flow. 137 minutes is actually reasonably short compared to other biblical epics, but because there are some very draggy and not so eventful parts Barabbas to me did feel a little overlong in places. Barabbas is hardly the first biblical/historical epic to have these problems though, and others have done them much worse this said, and I'm usually tolerant of slow pacing and long lengths dependent on the execution of everything else.

And while a lot is done right in Barabbas, other areas are patchy. Also as gently sincere and pretty Silvana Mongano is, she has very little to do in a particularly clichéd and thinly sketched role in a film where only Barabbas has any proper development. To the film's credit, the idea of people being brought up and living life in tumultuous times is portrayed with much riveting realism, so while development is sketchy it is easy to get emotionally engaged and empathise with what the characters are going through.

Overall, overlong, at times heavy-handed in the script and with its dull spots, but with the wonderful production values, powerful music score, emotional resonance, some visually striking and dramatically compelling scenes and strong acting Barabbas still manages to be a good film and one of the better biblical epics. 7/10 Bethany Cox

Whatever happened to that guy who was let off the hook when Jesus was crucified? Here is a fictional account of his life after he was released in Jesus' place. Quinn plays the title character, a thief and rabble-rouser who is set to be crucified when a technicality allows one prisoner to be released due to a holy day. It is brought up in order to free Jesus, but the crowd instead calls for Barabbas' freedom and stay of execution. Quinn spots Jesus briefly through piercing sunlight, then finds himself touching the blood that he's left on a post. He shakes it off and returns home only to find that his lover (Mangano) has fallen under Jesus' spell and won't play anymore. Soon, he has returned to his old ways and when he's arrested, he discovers he can't be killed due to the same technicality that freed him the first time! So he's shipped off to a harrowing sulfur mine where he is chained to man after man, each of them dying in turn until he's paired with an ideological Christian (Gassman.) Circumstances then lead this pair to the Roman Coliseum where they are trained in the art of gladiatorial combat and must face down the deranged and powerful Palance. As the many years go by, Quinn finds himself tempted to believe in Jesus, but always wavering until finally he must make a choice. The film is epic in story and scope with several memorable sequences including a solar eclipse, a stoning execution, a cataclysmic cave-in and a spectacular visit to the Coliseum. The film must be seen in its wide-screen format in order to appreciate the magnitude of its composition. Quinn gives an understated performance with surprisingly little dialogue. His grunting, mumbling approach near the beginning fortunately gives way to a more comprehensible, accessible performance later. The film has a parade of famous actors each of whom is billed in order of appearance except for Mangano (who unfairly gets special treatment due to her marriage to the producer!) It's really Quinn's show, but several others get a chance to shine. Gassman is given a heroic and dignified role, Andrews adds weight to the film with his surehanded presence and Palance is quite notable as the unbeatable gladiator. With his ear-to-ear, snarling grin and his stony stares at his opponents, he presents a formidable foe in the arena. The production is quite eye-filling and visually arresting, but also relentlessly downbeat. Jurado, as Quinn's second favorite bed-mate, adds a little earthy humor to the proceedings, but is dispatched without much ado. There is a tad of unintentional humor along the way thanks to some of the conventions of film-making at the time, but mostly from the entire sequence featuring Lazarus, recently risen from the dead and not looking too great for it! The hysterically wan and creepy looking performer does little to encourage anyone's desire to be resurrected! It's an oddly under-appreciated film, though, which can stand proudly aside its cousins such as "Ben-Hur" and "Spartacus".

In one of the first scenes Barabbas steps out of his dark prison cell to find the peculiar glinting figure of the man who's going to take his place on the cross and rubbing his eyes says he's not used to the light.

So here we have both facets that make this interesting. It is, more so than Ben Hur and perhaps even Spartacus, less grand in the cinematic brushstroke but more troubled and honestly so about the spiritual picture it paints, more human.

It starts with what we know as a spiritual narrative, Pilates' trial of Jesus, but approaches it in the historic light. It follows only the last legs of that narrative from the crucifixion on but does so through Barabbas' questioning eyes. We assume divinity because it's that story but the body could have been stolen, the eclipse natural; it all might just be a story about god.

The spiritual question that looms is why doesn't god make himself plain? If this is a spiritual narrative as the newly devout insist throughout, why is it so hard to discern its truth?

Barabbas finds it hard to believe so returns to his banditry which opens up a cycle of sinking deeper into a life of meaningless toil and punishment, seen most clearly in the sulphur mines where each subsequent year the slaves are lowered to a deeper level as their eyes become accustomed to the dark, again eyes tied to light.

It isn't so just for him of course, Christians suffer next to him so what difference does it make, faith or god?

There's a scene where a Christian lectures gladiators that their pagan gods are fictions that will be sure to amuse modern viewers. But this was the powerful reality of early Christianity, the only time it truly mattered. Christians could point to a specific time and place where god appeared as part of history, I can only imagine the invigorating urgency. It had all become clear, linear. They did joyfully expect to see his return within their lifetime.

There is something powerful to be gleaned here; life isn't any better for the believers than Barabbas, the whole difference has nothing to do with the material facts, it's all about the light in which you choose to see. The tragic irony is that when Barabbas chooses to believe it is only out of guilt, a madness that is the fire he sets to things (this is during Nero's fire) that is his belief that the anticipated return would be fiery like this.

So forget that it's a religious spectacle we watch during Lent and carries that form, this is more erudite than usual and deserves to be seen next to Stromboli about the difficulties of faith.

Fascinating because it is based on a Nobel Prize winning novel and the film's most popular slice is the gladiator segment, which I am told was never a part of the novel! That's Hollywood. It is also the sequence that presents the arch villain of Hollywood, Jack Palance at his evil best.

I have not read the novel and I have not seen the earlier Swedish film by director Alf Sjoberg--both are great works, I believe.

What is great about Fleischer's "Barabbas"? The casting is accidentally superb--Yul Brynner was to play the Quinn part initially. And this is arguably Quinn's best work. So is the case of Sylvano Mangano, again the most memorable work of hers. Jack Palance, Arthur Kennedy and Ernest Borgnine are fascinating. Ms Mangano's brother plays the cameo of Jesus.

For the religious, the eclipse during the crucifiction of Christ was real, not a studio trick. At the same time one needs to know that director Fleischer had planned it in advance. It was not a "miracle" at all.

Starting from the amazing low-angle opening shot of the film, the film has very creditable photography. The cinematographer is Aldo Tonti who gave us the lovely images in Fellini's classic "Night of Cabiria" (1957).

For me, "Barabbas" is the best Biblical and the best sword-and-sandals work Hollywood and Cinecitta ever made. A miracle by itself, not just the mere work of a great novelist! A great subject to meditate on--darkness versus light, thanks to the author of the Nobel-Prize winning novel.