The Last Days of Pompeii

The team that produced King Kong for RKO Pictures, writer Meriam C. Cooper and director Ernest B. Schoedsack, decided to emulate Cecil B. DeMille in giving us The Last Days Of Pompeii. It's not a bad film, but it nearly bankrupted RKO so prohibitive was the cost for that small studio.

The film bears a distinct resemblance to DeMille's eye filling, but now incredibly campy The Sign Of The Cross. Our protagonist here is Preston Foster who plays Marcus the Blacksmith, but before the film is done goes through more reinventions of character than you would find in good and bad Russian literature. As a content, but happy blacksmith a bit of good fortune has him and wife celebrating. But she's accidentally injured and dies for lack of medical care, not that medical care was all that good back in those days to begin with. Foster decides that all that matters in life is the money you can accumulate for a rainy day. Foster is constantly reassessing life throughout the film.

Foster gets to go to Judea and is on the scene of the crucifixion and before that has Jesus heal his adopted son David Holt who grows up to be John Wood. Foster also meets Basil Rathbone as Pontius Pilate who also does some major reassessing after presiding over the trial of Jesus.

If the Oscar for Special Effects was in existence in 1935 it would have been interesting to see either The Last Days Of Pompeii or Mutiny On The Bounty would have won the award. Those scenes of the volcanic eruption of Versuvius are what guaranteed this film would not show a profit. They do rival what DeMille was capable of, but DeMille had a far bigger studio and more financial security in Paramount.

Also in the cast are Louis Calhern as the Roman consul and Alan Hale as Foster's number two man. They give their usual good performances.

As for RKO Studios and Preston Foster, they got some Oscar recognition for another film that Foster did for them that year. It was the low budget, but incredibly powerful Irish story, The Informer where Victor McLaglen won for Best Actor. A much better film than The Last Days Of Pompeii.

Still the spectacle of this film can still awe you, even on the small screen.

If you liked "Gladiator," then "The Last Days of Pompeii" is a good choice for an empty afternoon of slash-em-up moralizing. The sets are expansive and ornate, there's loads of action and the story, though pretty one-note, is well-written and well-acted. Normally I can't stand classical actors, but the performances in "Pompeii" are so energetic that I got sucked in, anyway. The moral underpinning of the movie does include a couple of appearances by Jesus Christ, complete with awed crowds of followers and the obligatory boys choir, but compared with some of the later Jesus epics that Hollywood produced ("King of Kings" and "The Greatest Story Ever Told"), "Pompeii" handles the material with considerable flair. The only major nitpick I have for this movie is its freewheeling use of history. At most, the story only covers 20 years, but Jesus died around 35 AD and Vesuvius erupted in 79 AD. But then, when has Hollywood let the truth get in the way of a good story?

Two years after King Kong, the same team went on to make this enjoyable disaster movie about life in Pompeii and the eruption of Mount Vesuvius. It is directed by Kong's Ernest B Schoedsack and the impressive eruption at the end was also done by the same people who did the effects for Kong including Willis O'Brien.

The excellent cast includes Preston Foster, Alan Hale, a pre Sherlock Holmes Basil Rathbone and Edward Van Sloan (Dracula, Frankenstein).

The Last Days of Pompeii seems to be quite a rare movie and I was pleased when BBC2 screened it several years ago and I still have it on video.

Catch this if you are lucky. Enjoyable.

Rating: 3 stars out of 5.

"The Last Days of Pompeii" was a film that captivated me during childhood and still intrigues me today, albeit on a different level. As viewers' comments have noted, "Last Days" is a little heavy handed with its moral theme and the character development of Marcus the Blacksmith-turned Gladiator-turned head of the Arena. Marcus (Preston Foster) is an innately good man, blessed with a loving wife, baby son, and a career, until an out-of-control chariot shatters his existence. With his wife (Gloria Shea) nearing death, Marcus must turn to the Arena, against his earlier values, now faced with the reality that money is the key to everything. Marcus becomes a killing machine, progressing up the gladiator billing to the top spot, but then adopts the son, Flavius (David Holt), of a slain adversary, resulting in another change. Acquiring a Greek slave (Wyrley Birch) to tutor his son, Marcus eventually heads for the Holy Land to make his fortune, meets Pontius Pilate (Basil Rathbone), and encounters Christ. Pilate uses Marcus in a symbiotic way that benefits them both, but it is the Lord who heals Holt when he lies near death. Marcus turns his back on the Lord, despite the protests of Simon (Murray Kinnell), in order to get his money back to Pompeii. The scene shifts, with Flavius (John Wood) now a young man appalled by the events in the Arena and struggling to remember the man who healed him in his youth. The conflict between father and son, arrival of Pilate to take Flavius to Rome, the corrupt Prefect (Louis Calhern) who demands gore for the "Games," and Flavius' romance with a slave (Dorothy Wilson) all intertwine and lead to the climatic eruption of Vesuvius. Marcus redeems himself in the emotional conclusion.

As a child, I loved Marcus' spiritual journey from innocent joy to sorrow to hard-hearted bitterness to mercenary greed and, finally, to redemption. As an adult, I still like the tale, but have focused more on the acting and production values. I disagree with the commentators who call the acting "wooden." Foster gives one of the best performances of his career as Marcus. As many note, Rathbone renders a sympathetic, sensitive delineation of Pilate. And the supporting players are superb: Edward Van Sloan as a kindly neighbor, Frank Conroy as a kind but condescending noble, Gloria Shea as the young wife, Dorothy Wilson as the son's love interest, Calhern as the despicable Prefect, Zeffie Tilbury as an old Greek soothsayer, etc. Even the minor roles are well-etched: Ward Bond as a bragging opponent of Marcus, Jason Robards Sr. as the tax gatherer, Reginald Barlow as the slave market proprietor, Kinnell as the Judean peasant, and many more. One can even spot Jim Thorpe throwing coins after a gladiator battle. A few players did very underrated work in "The Last Days of Pompeii." Alan Hale Sr., as Burbix, captures the rough edges of a criminal and then the fierce loyalty to his understanding friend Marcus. William V. Mong, as the growling-at-times, cowering-with-fear at others, slave dealer, Cleon, gives a wonderful, colorful performance that is anything but "wooden." But it is Wyrley Birch, as Leaster, the kindly Greek scholar/slave, who provides the moral compass for the film, counseling Marcus, tolerating his greed and seeming imperviousness to the suffering of others, while educating his son Flavius that there is a better way and far superior values than those his father seems to endorse. Birch walks the tightrope and never becomes overly sentimental. Truly, Leaster represents the apex of Birch's career.

"The Last Days of Pompeii" is an enjoyable film on many levels, including as a morality tale. It is much more than that, however. And for lovers of old character actors, it is a treasure trove!

In the old Roman Empire city of Pompeii, brawny blacksmith Preston Foster (as Marcus) suffers a great family tragedy. Desperate for money, Mr. Foster reluctantly becomes a gladiator; he is uncomfortable killing defeated opponents, but must make a living. Wracked with guilt, Foster adopts pre-teen David Holt (as young Flavius) after killing his father in a fight. Foster can no longer fight competitively and makes money trading slaves and horses. He eventually becomes very prosperous...

Foster is unaware he is living during the time of Jesus Christ, who has a following. An old woman instructs Foster to take his son to see the "greatest man" in Judea. Foster considers this to be "prophesy." He crosses paths with Christ, but believes the greatest man is more likely the governor of Jerusalem, Basil Rathbone (as Pontius Pilate). Foster begins working with the notorious leader. After the Christian crucifixion, Foster's son grows up to be John Wood (as Flavius) and clashes with his papa...

Other than the ending eruption, "The Last Days of Pompeii" completely re-works the plot (of the original novel by Edward George Bulwer-Lytton). It's a good (perhaps better), Christian-focused revision, though sometimes stodgy in the production. The concept of slavery is changed, which is nice. Original thinking was that the mistreating of slaves was bad; nice people treated them nicely, and bad people treated them badly. Also, Mr. Rathbone's "Pilate" is given more depth in characterization...

God, however, is still in firm control of natural disasters.

****** The Last Days of Pompeii (10/18/35) Ernest B. Schoedsack ~ Preston Foster, John Wood, Basil Rathbone, David Holt