"King of Kings" was the most politicised of all the Biblical epics and it
was also one of the best. Wags nick-named it 'I Was a Teenage Jesus' and
it certainly isn't totally free of the piety that defeated so many of
its ilk, but it's also surprisingly blood-thirsty and when it didn't
give in to those pieties, it worked a treat. It had a surprisingly fine script from Philip Yordan, (the Sermon on the Mount is a tour-de-force), that fleshes out subsidiary characters like Barrabas, Pilate and even Mary, the mother of Jesus in ways other Biblical films
ignored. If Jeffrey Hunter was too blond and blue-eyed as Jesus, Irish
actress Siobhan McKenna was perfectly cast as Mary, Hurd Hatfield was a
first-rate Pilate and there's fine work from the likes of Viveca
Lindfors, Rita Gam and Ron Randell in the supporting cast. Splendidly
photographed too as befits films of this kind, (director Nicholas Ray's
use of colour and the widescreen is as fine as ever), yet critically
undervalued and now often dismissed when reviewing Ray's oeuvre.The films reviewed here represent those I have liked or loved over the years. It is not a list of my favourite films but all the films reviewed here are worth seeing and worth seeking out. I know many of you won't agree with me on a lot of these but hopefully you will grant me, and the films that appear here, our place in the sun. Thanks for reading.
Monday, 3 June 2019
KING OF KINGS
"King of Kings" was the most politicised of all the Biblical epics and it
was also one of the best. Wags nick-named it 'I Was a Teenage Jesus' and
it certainly isn't totally free of the piety that defeated so many of
its ilk, but it's also surprisingly blood-thirsty and when it didn't
give in to those pieties, it worked a treat. It had a surprisingly fine script from Philip Yordan, (the Sermon on the Mount is a tour-de-force), that fleshes out subsidiary characters like Barrabas, Pilate and even Mary, the mother of Jesus in ways other Biblical films
ignored. If Jeffrey Hunter was too blond and blue-eyed as Jesus, Irish
actress Siobhan McKenna was perfectly cast as Mary, Hurd Hatfield was a
first-rate Pilate and there's fine work from the likes of Viveca
Lindfors, Rita Gam and Ron Randell in the supporting cast. Splendidly
photographed too as befits films of this kind, (director Nicholas Ray's
use of colour and the widescreen is as fine as ever), yet critically
undervalued and now often dismissed when reviewing Ray's oeuvre.
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