Le roi des rois

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.

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.

'King of Kings' features Jeffrey Hunter's finest performance, as a young, dynamic Jesus of Nazareth, and his interpretation, open and earnest, is the best part of a movie both uneven and flawed.

Produced by many of the people responsible for 'Ben Hur', the film utilizes some of the same sets, actors (Frank Thring appears in major roles in both films), and composer (Miklos Rozsa, whose score for 'King of Kings' was one of his finest). The cast was fleshed out by respected actors (Robert Ryan is too old but charismatic as John the Baptist, Siobhan McKenna is a glowing, if also too old Mary, Brigid Bazlen, a deliciously wicked and oversexed Salome, Harry Guardino, an 'over-the-top' Barabbas, a VERY young Rip Torn scores as Judas). While the cast didn't have the 'star power' of 'Ben Hur', or many other Christian epics, the actors, by and large, perform credibly in their roles, particularly Hurd Hatfield and Viveca Lindfors, as Pilate and his wife, Claudia, and Ron Randell as Tribune Lucius.

The film was a MUCH less expensive project than 'Ben Hur'; the budget restraints show most glaringly in recreating Jesus' ministry (most of Christ's miracles are only referred to, not shown), and extras casting (non-professional Spanish townspeople, overdubbed with some truly RIPE dialog!).

The film works best when focusing on Jesus; unfortunately, it frequently veers off into distracting subplots about Barabbas and the zealots, and the decadence of Herod's court. These stories consume a LOT of screen time, and damage the overall impact of the film.

Yet rising above all this is Jeffrey Hunter's interpretation of the Savior. Easily the most audience-friendly of all the actors who have assailed the role, Hunter took a lot of flack for his 'matinee idol' good looks, and piercing blue eyes, but his kindness, sincerity, and the complete believability with which he delivers Christ's words overcome any qualms about his appearance. The Sermon on the Mount is a film high point, and magnificent; the Crucifixion and Resurrection have the kind of power that can bring a lump to your throat, even after repeated viewings.

While 'King of Kings' lacks the big names and budget of 'The Greatest Story Ever Told', or the emotional core of 'Jesus of Nazareth' or 'The Last Temptation of Christ', in Jeffrey Hunter, the film presents possibly the most compassionate of all screen Messiahs, and makes this film a very moving experience!

There certainly has been a plethora of films about Jesus over the years, from deMille's silent "King of Kings" up to the present day TV mini-series. I feel that this version is clearly the winner. The film is never sensational or vulgar, as are so many biblical "epics," but is extremely moving in its dignified manner. The screenplay is intelligent, the photography gorgeous, and the acting, by an unusual cast not known for its stellar draw, is uncommonly good. Nicholas Ray's direction is first-rate, and the soaring Miklos Rozsa score is unforgettable. Jeffrey Hunter was unfairly ridiculed when the film was first released, and I believe gives a highly underrated performance as Christ. Even the minor players are superb, with the late Brigid Bazlen a frighteningly disturbed Salome. Compared to "King of Kings," George Stevens' "The Greatest Story Ever Told" is embarassingly bad. All in all, a highly worthwhile film experience, told without the glitz and excesses native to so many of those of its ilk.

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.