Quo Vadis

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!!

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.

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 .

This movie helped usher in the age of biblical epics that were produced in the 1950's and 1960's that have not been equalled since. This film also was a first in that it much of the filming was done on location in the famous Cinecetta studios in Rome. The film is unequalled in production values, costumes, sets, musical score, etc. As far as the script is concerned, it is a bit weak, the screenplay not being adapted well from the classic novel about Rome. The only actor to watch in this is Peter Ustinov as the psychotic emperor Nero. Ustinov steals the film from everyone else.

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.