is among the earliest and best of the big budget Roman spectacle film which
became popular both in Hollywood and European cinema in the late 1950s, and which has
enjoyed a recent revival in the shape of the American blockbuster Gladiator
Whilst it lacks the gloss and extravagance of such films as Ben-Hur
fares much better in other areas, such as the quality of the dialogue and acting.
Whilst it adopts a moralistic tone from the start, the film manages to kindle some tragically
poignant moments, to add to the tense moments of drama which lead up to the final crowd-pulling
spectacle scenes of blood and carnage.
This Franco-Italian film was directed by the Italian Alessandro Blasetti, with an enormous
cast list headed by some of the luminaries of French cinema at the time. Michèle
Morgan plays Fabiola in one of her most spiritual and captivating roles and it is inconceivable
that anyone could have played the past better. Cast opposite her is the brawny Henri
Vidal, who would marry Michèle Morgan a few years later. In the 1950s, Vidal
would become an increasingly popular actor, although his career was cut short when he
died of a heart attack at the age of 40. The magnificent Michel Simon also appears,
but all too briefly, in the film's first half as the loveable tyrant, Fabien, an ebullient
and memorable performance which puts some of his Italian co-stars to shame.
The film is closely based on the work of Cardinal Wiseman and the film's strong moral
slant is evident throughout, although, unlike with so many films with a religious agenda,
it does not patronise its audience by attempting to convert them to Christianity.
It is not difficult to drawn parallels between the Romans' treatment of Christians and
the Nazi's attitude towards Jews. The film was made directly after the end of the
Second World War when the Nazi atrocities were beginning to come to light and the film's
dedication is a strong indication that its production team was influenced, if not inspired,
by the Holocaust. Certainly, the terrible scenes of brutality and carnage at the
end of the film are much more graphic and shocking than practically anything seen
in European cinema up to that point in time. Fortunately, this horror is swiftly
followed by one of the most beautiful moments in European cinema.
This is a film that, despite its length and occasional faults, enchants and enthralls
its audience throughout. It portrays the best and the worst in human nature and
is a fitting epitaph to the folly which was World War II.
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