O Rei dos Reis

A recent screening of "King of Kings" at New York's Museum of Modern Art (Gramercy Theater) proved the durability of this production. A sizable group of people were prepared to titter or howl at what they thought would be another mindless Biblical epic -- instead, they were quickly absorbed and attentive to the film's virtues: its reverence, economy, visual beauty, and especially Jeffrey Hunter's quietly commanding Christ. Yes, this is still the good film based on the New Testament (with some subtle and searching script additions). Thanks still go to Nicholas Ray for his tactful, expert handling of a timeless story.

Everything fits together as soon as the film opens with Orson Welles' narrating the story of the Son of God. Little Jesus grows up to be the very American and impossibly blue-eyed Jeffrey Hunter (his opening scene with Robert Ryan's Baptist is superb), who goes on to cure the lame, the insane, the blind, rehabilitate Mary Magdelene, and all the usual things. Hunter is very good in the role, which may have been surprising at the time given his previous form in Westerns (and later in Star Trek's pilot episode!). Other good points - Hurd 'Dorian Gray' Hatfield as Pilate, the dance of the seven veils, the ending, the glorious score ...

It fits together better than The Greatest Story Ever Told, which got too starry and was spoiled by John Wayne's son of gawd. Here everyone knows their place and the religious context remains unscathed by the whitewash of Hollywood. Excellent.

MGM must be credited with bankrolling this expensive project. True, their objectives were probably mercenary, hoping to cash in on their earlier commercial success, "Ben Hur." Still, the big studio can't be faulted for choosing Nicholas Ray to head their massive enterprise. Ray's work's always worth watching, and here he proves he can lead a gigantic spectacle to impressive heights.

Miklos Rozsa's "inspirational" score is notable for its prominent use of voices and thematic motifs. Philip Yordan and his writing colleagues fashion a respectable script.

Orson Welles manages to subdue his often florid histrionic tendencies to render outstanding narration.

Further credit to MGM for engaging a more than decent cast of solid professionals, headed by Siobhan McKenna, Hurd Hatfield, Viveca Lindfors, Rip Torn and Robert Ryan.

Kudos to the second unit and art direction, and to the fine photography and striking costumes.

Jeffery Hunter must be given credit for taking on an impossible role and coming out not too badly.

As for the validity of its historicity, that may be an entirely different matter, and each viewer must draw his and her own conclusions on this. With a story as old as the hills, there isn't much room left for many fresh insights, and what gives this interest is the big studio that mounts this ancient tale.

In this case, MGM and crew made a pretty good show.

For me and, I suspect, a lot of other Boomers who were pious as kids and tipped off by nuns about the 4:30 Movie on Good Friday, this one is beyond criticism. When it's time for us to go, many of us will be seeing Hunter's face, baby blues and all, in the midst of the white light... But personal soft spots aside, it's a pretty good Jesus picture. Hunter may speak with the unctious blandness of a TV game show host, but he's earnest and vigorous and has a certain charisma you could take as Godhood... The music is sublime. Ray's direction has a lot of the REBEL WITHOUT quirks. Note the weird angles during Salome's dance. The Sermon on the Mount is probably the best sequence. Those oddly lit and artsily angled close-ups of Jesus are intriguing. Then He comes over the hill with His arms outstretched and it's pure glory... Sweet as a jelly bean, redolent of Easter lilies.

This movie is so underrated. I think it's one of the best movies about Christ which was well played by Jeffery Hunter. There was also a great supporting cast that included Sobian McKenna, Robert Ryan and many others. Why this film

didn't get any attention at the 1961 Oscars, i'll never know. I would have given this film an Oscar Nomination for Miklos Rosza's music score which is one of his best scores ever. I think also the set designs were pretty good and worth of an Oscar nomination as well. The Cinematography was pretty good even though

there was better work at that time. I think this movie beats 1965's "The Greatest Story Ever Told" which went way too long and just wasn't as interesting as this one. Nicholas Ray did a great job with this one and this film deserved a lot more than it got.