Quo Vadis (1951)
Country: US
Technical: col 171m
Director: Mervyn Le Roy
Cast: Robert Taylor, Deborah Kerr, Peter Ustinov, Leo Genn
Synopsis:
A Roman proconsul's love for a beautiful Christian woman leads him to question the despotism he sees all around him in Rome, not least in the person of the emperor Nero.
Review:
This film holds the distinction of being the one to set off the craze for historical/biblical epics that held sway for a decade or so. Made by MGM in Italy, it followed on from the success of the Italian success, Fabiola (1949), another story of Christian persecutions, adding colour (but not yet wide screen) to the spectacle. It is even longer, establishing a convention of slowness in Hollywood treatments, and balances the rather wooden Taylor against the incomparable Kerr and the outrageouly scene-stealing Ustinov.
Country: US
Technical: col 171m
Director: Mervyn Le Roy
Cast: Robert Taylor, Deborah Kerr, Peter Ustinov, Leo Genn
Synopsis:
A Roman proconsul's love for a beautiful Christian woman leads him to question the despotism he sees all around him in Rome, not least in the person of the emperor Nero.
Review:
This film holds the distinction of being the one to set off the craze for historical/biblical epics that held sway for a decade or so. Made by MGM in Italy, it followed on from the success of the Italian success, Fabiola (1949), another story of Christian persecutions, adding colour (but not yet wide screen) to the spectacle. It is even longer, establishing a convention of slowness in Hollywood treatments, and balances the rather wooden Taylor against the incomparable Kerr and the outrageouly scene-stealing Ustinov.
Country: US
Technical: col 171m
Director: Mervyn Le Roy
Cast: Robert Taylor, Deborah Kerr, Peter Ustinov, Leo Genn
Synopsis:
A Roman proconsul's love for a beautiful Christian woman leads him to question the despotism he sees all around him in Rome, not least in the person of the emperor Nero.
Review:
This film holds the distinction of being the one to set off the craze for historical/biblical epics that held sway for a decade or so. Made by MGM in Italy, it followed on from the success of the Italian success, Fabiola (1949), another story of Christian persecutions, adding colour (but not yet wide screen) to the spectacle. It is even longer, establishing a convention of slowness in Hollywood treatments, and balances the rather wooden Taylor against the incomparable Kerr and the outrageouly scene-stealing Ustinov.