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IMDbPro

Quo Vadis

  • 1951
  • T
  • 2h 51min
VALUTAZIONE IMDb
7,1/10
17.799
LA TUA VALUTAZIONE
Deborah Kerr, Robert Taylor, Peter Ustinov, and Patricia Laffan in Quo Vadis (1951)
International
Riproduci trailer1: 47
3 video
99+ foto
DrammaPeplumRomanticismo

Dopo che il potente comandante romano Marco Vinicio si infatua di una bellissima cristiana prigioniera di nome Lygia, inizia a dubitare del tirannico regno del despotico imperatore Nerone.Dopo che il potente comandante romano Marco Vinicio si infatua di una bellissima cristiana prigioniera di nome Lygia, inizia a dubitare del tirannico regno del despotico imperatore Nerone.Dopo che il potente comandante romano Marco Vinicio si infatua di una bellissima cristiana prigioniera di nome Lygia, inizia a dubitare del tirannico regno del despotico imperatore Nerone.

  • Regia
    • Mervyn LeRoy
    • Anthony Mann
  • Sceneggiatura
    • John Lee Mahin
    • S.N. Behrman
    • Sonya Levien
  • Star
    • Robert Taylor
    • Deborah Kerr
    • Leo Genn
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,1/10
    17.799
    LA TUA VALUTAZIONE
    • Regia
      • Mervyn LeRoy
      • Anthony Mann
    • Sceneggiatura
      • John Lee Mahin
      • S.N. Behrman
      • Sonya Levien
    • Star
      • Robert Taylor
      • Deborah Kerr
      • Leo Genn
    • 156Recensioni degli utenti
    • 53Recensioni della critica
    • 65Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 8 Oscar
      • 9 vittorie e 10 candidature totali

    Video3

    Quo Vadis
    Trailer 1:47
    Quo Vadis
    Quo Vadis
    Trailer 1:46
    Quo Vadis
    Quo Vadis
    Trailer 1:46
    Quo Vadis
    Streaming Passport: The Roman Empire
    Clip 4:38
    Streaming Passport: The Roman Empire

    Foto234

    Visualizza poster
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    Visualizza poster
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    + 227
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    Interpreti principali99+

    Modifica
    Robert Taylor
    Robert Taylor
    • Marcus Vinicius
    Deborah Kerr
    Deborah Kerr
    • Lygia
    Leo Genn
    Leo Genn
    • Petronius
    Peter Ustinov
    Peter Ustinov
    • Nero
    Patricia Laffan
    Patricia Laffan
    • Poppaea
    Finlay Currie
    Finlay Currie
    • Peter
    Abraham Sofaer
    Abraham Sofaer
    • Paul
    Marina Berti
    Marina Berti
    • Eunice
    Buddy Baer
    Buddy Baer
    • Ursus
    Felix Aylmer
    Felix Aylmer
    • Plautius
    Nora Swinburne
    Nora Swinburne
    • Pomponia
    Ralph Truman
    Ralph Truman
    • Tigellinus
    Norman Wooland
    Norman Wooland
    • Nerva
    Peter Miles
    Peter Miles
    • Nazarius
    Geoffrey Dunn
    • Terpnos
    Nicholas Hannen
    Nicholas Hannen
    • Seneca
    D.A. Clarke-Smith
    D.A. Clarke-Smith
    • Phaon
    • (as D. A. Clarke-Smith)
    Rosalie Crutchley
    Rosalie Crutchley
    • Acte
    • Regia
      • Mervyn LeRoy
      • Anthony Mann
    • Sceneggiatura
      • John Lee Mahin
      • S.N. Behrman
      • Sonya Levien
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti156

    7,117.7K
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    Recensioni in evidenza

    8ma-cortes

    Larger-than-life production with breathtaking scenarios and exciting scenes

    During 63 a.d. a Roman official prefect named Marco Vinicio (Robert Taylor) returns from Gaul wars and goes home Petronius (Leo Genn and enamored the gorgeous slave played by Marina Berti ), adviser of emperor Nero (Peter Ustinov) . Vinicio confess him he has fallen in love from Ligia (Deborah Kerr) , a virginal and mysterious young whom has known in the Plautus's home (Felix Aylmer and wife Nora Swinburne) . Meantime , the Christians are accused by Nero (Peter Ustinov) , along with Poppea (Patricia Laffan) and Tijelinus (Ralph Truman) of burning the ancient Rome . Depraved emperor Nero wants to get rid the Christians followed by Apostle Peter (Finlay Currie) and Paul (Abraham Sofaer) and then orders burn on stakes and use them as meat for hungry lions . Vinicio helped by Ursus (Buddy Baer) risk their lives to save her .

    This huge epic film gets lots of crowd scenarios, fabulous gowns, dramatic scenes and is realized on a giant scale , spectacular sequences and Christians' bloody martyrdom as lions attack in arena and cruel crucifixions . Originally cast in 1949 with Elizabeth Taylor as Lygia and Gregory Peck as Marcus Vinicius . But as the production changed hands the following year , the roles were recast with enjoyable Deborah Kerr and robust Robert Taylor . Among the many actresses who tried out for a role in the film : a pre-stardom Audrey Hepburn. Peter Ustinov's overwhelming hammy acting , he gives an immortal and unforgettable performance . Film debut of Bud Spencer , who plays one of the Emperor's guards and as extra appears Sofia Loren and her mother . The film was an epic colossal with big financial success , 32,000 costumes were used in the film ; besides , spectacularly and colorfully photographed by Robert Surtees and magnificent musical score by Myklos Rozsa . The movie was very well directed by Mervyn Leroy . The motion picture is the ultimate version of the classic novel by the Polish Henryk Sienkiewicz . Remade for television by Franco Rossi (1985) and inferior version (2001) by the Polish Jerzy Kawalerowicz .
    gregcouture

    The original novel and this cinema version of it are two very different kettles of fish!

    A fellow IMDb-er from Poland, defending Henryk Sienkiewicz's monumental, Nobel Prize-winning novel (which I HAVE read, by the way) calls this M-G-M Technicolor spectacle "CRAP"!

    Please! The novel is incredibly dense and detailed; possibly a lot truer to what was known in the early part of the twentieth century of the actual events of the time of its plot; with lots of references to the cruelty and luxury of Nero's Rome; frequent mentions of the pervasive nudity under all kinds of circumstances among the Romans of the time; and, given its length, a perhaps more respectful view of the emergence of Christianity at a time when its converts risked their very lives to admit their beliefs. There is no way that even a multi-part TV mini-(I mean, maxi-)series could come close to approximating the novel's overwhelming complexity.

    But, as a piece of filmed entertainment, this cinema extravaganza is not at all worthy of being consigned to the proverbial garbage heap. The cast, yes, including Robert Taylor and Deborah Kerr, but, especially the supporting actors (Peter Ustinov, of course; plus Leo Genn, in particular, as well as Patricia Laffan, Marina Berti, Finlay Currie, Felix Aylmer, Rosalie Crutchley, et al.) all take full advantage of a script that had many witty as well as dramatic moments and, for its day, a fairly reverent (though not historically accurate) rendering of Christianity's emergence in a hostile Roman world.

    In addition its production values have never been surpassed; in fact, they've never been equalled. One understands how beleaguered those of Polish descent often must feel (I, for one, have never been a fan of so-called "Polish jokes."), but let's not set impossible standards for a translation of one of Poland's most memorable literary achievements! This production is an example of Hollywood marshalling some impressive resources, while avoiding more than a modicum of the cliches that can sabotage such a project. It may not honor its source as some might wish, but it's still a quite grand and opulently eye-filling way to enjoy close to three hours.
    7jpdoherty

    "Nothing do I see that is not perfection"

    At Last one of the great classic Hollywood blockbuster epics of the early fifties has finally found its rightful DVD home with this exceptional two disc release from Warner Home Video.

    Produced by Sam Zimbalist for MGM in 1951 and expertly directed by Mervin LeRoy "Quo Vadis" was Hollywood's first wallop in the fight against the onslaught of Television. Available at first, and for many years only on VHS tape, it then began to appear on a plethora of foreign DVDs but with varying quality it must be said. One such unfortunate issue, which originated in Korea, was released without any opening credits whatsoever! I kid you not! That said - we now thankfully have it in our possession and a superb issue it is! With perfect pristine colour resolution, Robert Surtees' Acadamy Award nominated colour Cinematography comes across with well defined and plush imagery. The various cast members are attired in the most gorgeously coloured costumes. Particularly dazzling is the golden uniform worn by the picture's star Robert Taylor as he proudly bears himself aboard his golden chariot during his triumphal parade through Rome.

    Also here is Miklos Rozsa's outstanding Acadamy Award nominated score! His main Roman motif, bold and strong, dominates the scenes in the Forum and in the Arena. In gentler mode is his beautiful love theme for the scenes with the star-crossed lovers Marcus and Lygia. Then there's the frenetic bacchanal-like Hymn of the Vestal Virgins followed immediately by the robust and heroic Triumphal March. Also heard on this issue - and for the first time since the original roadshow release 56 years ago - is the composer's Overture and Exit music. The great Rozsa would barely eclipse his "Vadis" music eight years later with his Oscar winning score for "Ben Hur".

    The assembled cast are uniformly excellent except, perhaps, the syrupy and simpering characterization of Deborah Kerr as Lygia. But Robert Taylor is fine in what is probably his best known role as Nero's legion commander Marcus Vinicus. Outstanding is Leo Genn as Petronious - the sardonic and sarcastic confidante of the tyrannical Emperor Nero. And of course there is the wonderful Peter Ustinov chewing up every bit of scenery there is as the crazed and loony Nero. Both Ustinov and Genn were nominated for Acadamy Awards. The picture is also buoyed by some colourful and elaborate set pieces such as the Vestal Virgins singing and wildly dancing in homage to the goddess Vesta, the spectacular triumphal parade of the Roman legions taking the salute from Nero as it passes the great palace, the exciting chariot chase, the brilliantly staged burning of Rome and the harrowing scenes in the Arena as the lions are released on the hapless hymn-singing Christians.

    These scenes all come across extremely well on this excellent DVD which comes with a trailer, a splendid 45 minute featurette "Quo Vadis And The Genesis of the Biblical Epic" and a commentary by one F.X. Feeney who persists in calling the leading lady's character Leega instead of Lygia and neglects to tell us that the opening narration is spoken by MGM favourite Walter Pidgeon (uncredited). However this is only a minor quibble and does nothing to diminish the greatness of this issue. Bravo Warner Home Video!!
    8theowinthrop

    How we missed having the city of "Neropolis"

    Henryk Sienkiewicz was one of Poland's great historical novelists, and one of the first recipients of the Nobel Prize for literature (1905). It has only been in the last decade or so that translations of other novels by him have appeared in English, but his major work, QUO VADIS?, has been known since it appeared over a century ago. It was a study of the early days of the Christians in Rome, and their first persecution by the Emperor Nero (54 - 68 A.D.) It concentrates on the burning of Rome and the persecution of the Christians (including the death by crucifixion of St. Peter). So the background is identical to Cecil B. DeMille's THE SIGN OF THE CROSS. Inevitably comparisons between the two films, their plots, and the performances of the two Neros (Charles Laughton and Peter Ustinov) result.

    But the two stories are not the same. Sienkiewicz threw in far more of the history of the Rome of that period than the author of the play THE SIGN OF THE CROSS did. And because of his deeply felt commitment to his faith, Sienkiewicz showed the destruction of Nero's rotten regime and the first triumph of Christianity. THE SIGN OF THE CROSS does not do that - my comment there was that DeMille never made such a pessimistic and tragic film in his career, with all the good people being destroyed and Nero (at that time) triumphant. This does not happen in QUO VADIS, where the corruption and incompetence of the regime finally loses the support of the people (and ... ironically worse ... the army!).

    There is also the addition of the leading poet-courtier of the day, Petronius Arbiter. A man of wit and taste, Petronius was one of several figures of literary note in Nero's court, and one of several to meet tragedy by being near that egomaniac. The others were led by Nero's original chief minister Seneca, the stoic philosopher and dramatist. Seneca's nephew Lucan was also a leading figure in the court. Both men were eventually turned into foes of the regime, especially as Seneca fell from his ministerial position after the murder of Nero's mother Agrippina. Petronius managed to avoid the political conflict that involved the other two, but the Emperor's irrational jealousy helped link the three. Lucan wrote a savage epic poem against the Imperial family (PHARSALIA) which signaled his rejection of the regime. Lucan joined a conspiracy against Nero led by a Senator named Piso. It was discovered, and Lucan and Seneca implicated. Both were forced to commit suicide (by opening their veins). Tigellinus, Nero's leading adviser, insinuated that Petronius was involved too (he wasn't). Petronius also committed suicide the same way, but wrote a witty and accurate denunciation to Nero which was given to the Emperor after the writer's death.

    Petronius' major surviving work, THE SATYRICON, was a wonderful look at the rot at the center of the regime of Nero. It (by the way) was turned into a film by Fellini in the late 1960s.

    Leo Genn brought Petronius and his delicate wit and taste out in the film, and merited the Oscar nomination he got for this - his best remembered role (aside from Dr. "Kick" in THE SNAKE PIT). Ustinov brings a degree of frailty to Nero - an uncertainty as to the acceptance of his public persona. He flails about between seeking the approval of the artists like Petronius and those who manipulate the tyrant in him (Poppeia and Tigellinus). Despite his vicious evil one sympathizes with him - he is a sick man. And his reconstruction program (he burns down old Rome to create "Neropolis") is on par to that of another tyrant of more recent vintage, who planned to build a world capital called "Germania" over Berlin's bones. He too left many bones, but it is hard to consider him at all sympathetic.

    As spectacle and history QUO VADIS? is quite rewarding. It may telescope the events of 64 - 68 A.D. (when Nero committed suicide with assistance), and avoid the three brief Emperors who ruled after Nero within the year (Galba, Otho, and Vitellius) before Vespasian came back from the war in Israel to take the throne for a decade - but it does show how Nero's regime collapsed. DeMille never tackled it. But despite those two omissions the film does do the period pretty well.

    Robert Taylor is more effective as a military commander / hero than Fredric March had been in SIGN OF THE CROSS. Deborah Kerr is more believable as an early Christian convert. And Finley Currie is wonderful as Simon Peter - who realizes that he must die for the Lord that he once denied. His end is based on a legend that Peter was crucified upside down, supposedly at his request that he did not deserve to be crucified in the same way as the Lord he briefly failed. Altogether a superior religious - historic epic.
    Doylenf

    Lives up to your expectations...Leo Genn and Peter Ustinov steal the acting honors...

    Ancient Rome never looked so good--especially in the gorgeous MGM technicolor of 1951. Costumes, sets, photography and music are all of a high order--and all of the performances are competent with two outstanding ones by Leo Genn (Petronius) and Peter Ustinov (Nero). Ustinov reminds me of an overbaked Charles Laughton in some of his mad scenes, but he is a convincing weakling as Nero. Leo Genn has some of the wittiest dialogue and handles his lines with professional ease, his eyes flashing with humor as he pretends to agree with Nero on certain points. Robert Taylor is stalwart in the lead giving his usual dependable performance and Deborah Kerr is lovely (if a bit British in manner) as Lygia.

    All the action and excitement you want from a spectacle--the burning of Rome, Christians in the arena thrown to the lions, the triumphal marches accompanied by Miklos Rozsa's mighty score--and scenes with sentimental and religious overtones (sometimes too extended and talky) --all combine to make the kind of lush spectacle MGM knew would be popular at the box-office. Although discriminating critics found fault with certain factors, it won eight Academy Award nominations with Ustinov and Genn both nominated for supporting roles.

    Grand scale spectacle--but don't expect anything deep.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      In his memoirs, "Dear Me" (1981), Sir Peter Ustinov recalled that MGM had sought him for the role of Emperor Nero but dithered for months, refusing to commit. During this time, he received numerous telegrams from the studio, one of which stated that they were concerned that he might be too young to play the notorious Roman Emperor. Ustinov replied that Emperor Nero died when he was thirty, and that if they waited much longer, he'd be too old. The studio cabled back: "Historical research has proved you correct. You have the part." Coincidentally (or not), Ustinov was 30 years old when this movie was released.
    • Blooper
      Marcus Vinicius is angry because the Emperor will not allow him to bring his legion into the city of Rome. Since the early days of the Republic a military commander was forbidden to bring his troops armed into the city of Rome.
    • Citazioni

      Petronius: [in his dying letter to Nero] To Nero, Emperor of Rome, Master of the World, Divine Pontiff. I know that my death will be a disappointment to you, since you wished to render me this service yourself. To be born in your reign is a miscalculation; but to die in it is a joy. I can forgive you for murdering your wife and your mother, for burning our beloved Rome, for befouling our fair country with the stench of your crimes. But one thing I cannot forgive - the boredom of having to listen to your verses, your second-rate songs, your mediocre performances. Adhere to your special gifts, Nero - murder and arson, betrayal and terror. Mutilate your subjects if you must; but with my last breath I beg you - do not mutilate the arts. Fare well, but compose no more music. Brutalize the people, but do not bore them, as you have bored to death your friend, the late Gaius Petronius.

    • Versioni alternative
      The DVD release restores the original overture and exit music, which, up until that point, was only heard in the original roadshow release and in the 1964 roadshow re-release.
    • Connessioni
      Edited into Atlantide continente perduto (1961)

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    Dettagli

    Modifica
    • Data di uscita
      • 5 marzo 1953 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Qvo Vadis
    • Luoghi delle riprese
      • Roma, Lazio, Italia
    • Azienda produttrice
      • Metro-Goldwyn-Mayer (MGM)
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 7.623.000 USD (previsto)
    • Lordo in tutto il mondo
      • 101.486 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      2 ore 51 minuti
    • Colore
      • Color
    • Proporzioni
      • 1.37 : 1

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