O Manto Sagrado

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.

This is a dignified portrayal about Ancient Rome from best-selling novel by Lloyd C Douglas adapted by Philip Dunne and Albert Matz's literate screenplay , it deals with dissolute Marcellus Gallio (Richard Burton) , a tribune in the time of Christ and son of a notorious senator (Torin Thacher) , as he's sent to Palestine . There he is in charge of the group that is assigned to crucify Jesus . From his official duties , drunken Marcellus wins Jesus' homespun robe in a dice-game after the crucifixion . He is tormented by delusion and nightmares after the tragic deeds . Hoping to find out a manner to live with what he has done , and still not believing in Jesus, he goes back to Palestine to learn what he can do of the mysterious man he murdered . Later on , he returns Rome and frees the holy-robe-carrying slave named Demetrius (Beefcake Victor Mature) . After that , Caligula (Jay Robinson) takes him prisoner , but his sweetheart (Jean Simmons) takes time out to visit in a dungeon .

This religious mammoth epic focuses a moving Roman pageant dealing with a sponger tribune , following his stirring career , spiritual awakening and reaches an exciting peak at the ending . It has marvelous images , spectacular scenes , enjoyable performances as well as the adequate cast of thousands . Richard Burton and Jean Simmons are both good , though Burton sometimes is a little wooden . Michael Rennie as Peter and Jeff Morrow as Paulus give sensible acting , though brief , which adds more to the reality than anything else . The best acting comes , indeed , from Jay Robinson , the best portrayal of his career , who gives a hammy acting as nasty Caligula . Colorful cinematography by Leon Shamroy and being the first film to be shot in glamorous CinemaScope . Sensitive and lyric musical score by the classic Alfred Newman . The film deservedly won 1953 Academy Award for Art Direction , Set Decoration, Color and Costume Design.

The motion picture is brilliantly directed by Henry Koster , an expert on super-productions and epic biographies , such as he proved in ¨Desiree¨, ¨The Virgin Queen¨, ¨A man called Peter¨, The story of Ruth¨ , ¨The Naked Maja¨ and of course ¨The Robe¨. It's followed by a sequel (1954) titled ¨Demetrius and the gladiators¨ by Delmer Daves with Debra Paget , William Marshall, Richard Egan , Susan Hayward as the trampy empress Messalina and in which the Marcellus's slave , Victor Mature , makes again a surprisingly good acting and reprised diverse characters as Jay Robinson as Caligula and Michael Wilding as apostle Peter.

The Robe (1953) is interesting on at least two counts: (1) the film takes its place as the first ever CinemaScope theatrical release and is therefore worthy of close study by all motion picture students; and (2) the film depicts the Passion of Christ, (as the inciting action that triggers the subsequent plot development), and as such, threads that part of the storyline with a genre stretching back over 1,000 years, where we find the first extant Passion Play scripts (other than the Gospel records themselves, of course). This again makes the film worthy of study by film students and theologians alike.

The story of Christ on film is more important historically than may at first might appear. At either two or three reels, the first ever full "feature film" is arguably claimed to be the "The Passion Play" (1898), filmed in New York in 1897. The 'greatest story ever told' has hit the screen regularly thereafter, perhaps most famously in recent years with Mel Gibson's masterly personal tribute, "The Passion of the Christ" (2004).

I will now comment briefly on some of the technical and visual aspects of "The Robe". The camera work majors on long shots, and it is interesting to analyse how each shot is framed for all that width of screen. The camera is mostly static, and shots have longer than average duration; the compositions really are not designed for a lot of movement. This gives the film that famous "epic" style that goes for the grand sweep, both visually, musically and emotionally. There is not a lot of internalisation within the characterisation - it is the (literal) width and scope of the production that grabs attention. The filmic style is not very personal, however. It really is as if we have the best seats in an outdoor drama on a massive stage.

As you view, you may wish to make a note of the shots that seem to work best to the modern viewer. In the early part of the film, for instance, (just before the "Passion" sequence), Demetrius runs toward the camera in search of Jesus, after he's been beaten down by the Roman guards outside the gates of Jerusalem. An old lady sitting behind him on the cobbled pathway, has just finished tending his wounds. The shot is terrific, and works for modern audiences very well. Unlike a lot of the film, where much of the direction seems to be subjected to the demands of the CinemaScope process, this shot contains a dynamism that beguiles the film's age. Why? Because it uses the three dimensions of the set, along with arresting and dramatic movement, as Demetrius runs diagonally toward the camera and beyond us, toward the Crucifixion, which we see in the next sequence.

Another sequence that really works well is the chase in the second half. It is arguably the most dramatic sequence in the entire picture, and certainly uses CinemaScope to best effect, as the horses thunder toward the audience. Over fifty years later, and it would be hard to better.

By contrast, most of the film is played out in tableaux form, with action taking place across the width of the screen on lavish but shallow sets. The camera is a passive observer, unlike modern 'epics', which usually use very fluid camera set-ups along with computer-generated imagery (CGI). The actual crucifixion (masterful in what it does not show, by the way) is indeed an actual still life tableau, and could have easily been lifted straight out of the Oberammergau passion play. I do not say this to put the film down - this actually is a brilliant move, as it makes the action faithful to the genre of the passion play, which originally was played out exclusively through short tableaux.

In this writing, my aim has been simply to help you consider alternative ways of viewing this, and other, historic motion pictures. Particularly, you may wish to take note of the sometimes unusual way the film uses: (a) framing, (b) shot length, (c) staging, (d) camera movements, (e) the use (or rather, the almost total lack of use) of close ups and 'cut-away' shots, (f) lighting, and the (g) music score and dialogue. Of course, there is much more to note: the use of dissolves and fades, which helps underline the 'epic' grandeur of every sequence. And I've not even touched on the story line or the acting. (Question: how might it have played as a silent movie?)

In today's post-modernist society, the Passion play formula, with its emphasis on objective truth, may well gain renewed importance, since the narrative of Christ's passion may be in danger of becoming yet one more voice crying in a commercial wilderness devoid of ultimate human (and Godly) values of truth, goodness and conviction. The story of Jesus stands out as unique however it is viewed. The simple reason: the story of the Passion indeed IS unique! (Which is one reason why I consider it a 'genre' in its own right.) I contend, therefore, that "The Robe" is an important contribution to American cinema, both theologically and cinematographically; one among a select number of motion pictures, spanning over one hundred years of history, that every student should have opportunity to view and discuss at least once whilst still in full time education.

A sidebar: "The Robe" really needs to be watched in 'letterbox' (i.e. in the original format), which on a small display does not do the picture justice. With HDTV coming along, look out for a digital re-release that will restore the original to its pristine glory. (Also, a side-by-side comparison with the Academy format version - shot at the same time - would be beneficial.) Best of all, of course, arrange to get it screened in your local art house cinema, and see it as it is meant to be viewed: on the big screen.

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.

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.