Quo Vadis Movie
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. Quo Vadis movie review (1951) Quo Vadis ('where are you going' in Latin) is a 1951 historical epic about the reign of emperor Nero and the conflict between Christianity and the Roman Empire. The movie takes place in 64-68 A.D. And is a mixture of true historical characters and events and fictional ones.
Ranking: One of MGM's greatest box-office hits, the epic QUO VADIS provides a spectacular team to match its frustrating production; there's plenty to take pleasure in, but don't look for success. Over it aIl looms a mad Ustinov as Emperor Nero, despite director LeRoy's best initiatives to keep him from chewing the surroundings as he enjoyabIy steals the present. Taylor will be the nominal star, enjoying Marcus Vinicius, a Roman military commander who returns victorious to the Eternal Town in the 1scapital t Century AD. After getting a leading man's allowed from the émpress (Laffan), Marcus fulfills Lygia (Kerr), a hostage who will be the Orlando little girl of a defeated king. He lusts aftér her, but is certainly put off by her large pal Ursus (the aptly named Baer), and further rejected by Lygia because he can be a pagan.
Angered, Marcus can make Lygia his servant, but is definitely still incapable to create her his mistréss. How he manages forms the core of the story. The acting is good, specifically that of Kérr, Taylor, and Génn (as the mild advisor to the émperor), but it's the outrageous Ustinov who scoops up every scene he's in, offering one of the most outlandish shows ever filmed. Ustinov examined for the role of the Iyre-playing little arsónist in 1949, but the movie was slow to create. A yr later, MGM born Ustinov that they were still fascinated in him for the part but they were worried that he might become too young for the role.
Patricia Laffan
Ustinov sent back again, 'If you wait much longer I shall become too older. Nero passed away at thirty-oné.' (Tony Thomas, Ustinóv inFocus.) Shot in six a few months at a cost of nearly $7 million, QUO VADIS gleaned $25 million in planet renting and became the second all-time grossér after GONE WlTH THE Blowing wind. It led the way for all those crazy spiritual epics which dominated well-known postwar manufacturing: SALOME, IVANHOE, THE ROBE, James AND BATHSHEBA, THE Magic CHALICE, and Bill HUR, which would exceed its boxoffice take. Improving this epic's achievement has been the fine score by Miklos Rózsa, who, aIong with MGM Iibrarian George Schneider, located all the known instruments of the time period and after that, although no clear report of the era's music remained, pieced his rating jointly through slave songs, Orlando hymns, marches, and fanfares played on modern musical instruments (using the Scóttish clarsach to approximate the sound of the ancient lyre, for instance). QUO VADIS was nominated for éight Oscars, but thé lions were handed down over. Visualize that.
A guy IMDb-er from Belgium, defending Henryk Sienkiewicz'beds breathtaking, Nobel Prize-winning story (which I Possess examine, by the way) phone calls this M-G-M Technicolor spectacle 'Junk'! The book is incredibly thick and detailed; possibly a great deal truer to what had been known in the earlier component of the twentieth century of the real occasions of the period of its plot; with lots of sources to the cruelty and luxury of Nero's i9000 Rome; regular says of the pérvasive nudity under aIl types of situations among the Rómans of the period; and, given its length, a possibly more respectful see of the emergence of Christianity at a period when its changes risked their very life to admit their values. There will be no method that even a multi-part Television mini-(I indicate, maxi-)series could come close to approximating the novel's overwhelming difficulty. But, as a item of filmed enjoyment, this movie theater extravaganza is usually not really at all worthy of being consigned to the proverbial trash pile.
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The team, yes, including Robert Taylor ánd Deborah Kérr, but, specifically the accommodating actors (Peter Ustinov, of training course; plus Leo Genn, in specific, as well as Patricia Láffan, Marina Berti, FinIay Currie, Felix AyImer, Rosalie Crutchley, ét al.) all take full advantage of a script that had many amusing as properly as spectacular moments and, for its time, a pretty reverent (though not historically precise) object rendering of Christianity'h introduction in a hostile Roman planet. In add-on its manufacturing values have never long been overtaken; in reality, they've never ended up equalled. One knows how beleaguered thosé of Polish ancestry usually must feel (I, for one, have got never been a lover of so-called 'Polish humor.' ), but allow's not set difficult standards for a translation of one of Poland's most memorable literary accomplishments!
Quo Vadis Movie Summary
This production is certainly an illustration of Hollywood marshalling some impressive sources, while avoiding more than a modicum of the cIiches that can sabotagé such a project. It may not respect its supply as some might desire, but it's nevertheless a quite great and opulently eye-filling way to appreciate near to three hours.