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“Quo Vadis”, based on the modern by Henryk Sienkiewicz would have to be reach the top of my list of favourite 1950’s religious record productions. Indeed “Narrative” is the word to fittingly characterize this broad MGM production that cost an fantastic 7 million dollars to execute in 1950 and was the studio’s biggest money maker since “Gone With The Wind”. It has everything an fable movie lover could desire, the already stated ravishing literary source, breathtaking sets (no computer generated effects here!), meticulously researched historical costumes, substantial crowds scenes and a aesthetic recreation of Pagan Rome at it’s height. The film boasts an fabulous cast but towering over all of them is the slack Peter Ustinov in his unforgettable performance as the deranged Nero. His interpretation of this sinful Emperor who began the first concentrated persecution of the early Christians is unruffled the visual image for a lot of people, myself included,that first comes to mind when Nero’s name is mentioned. Already having been filmed a number of times in the calm era and once again since this 1951 film, this is detached the definitive version of the yarn of the early Christian Church struggling to survive in Nero’s Rome after the mammoth fire.

With the advent of television in the early 1950’s Hollywood fought aid with splashy, lavish productions that could not be matched by the flickering sunless and white image of television in it’s infancy. “Quo Vadis”, lent itself perfectly for this purpose and an already shaky MGM assign all of it’s resources into the filming of this account for production. The narrative centres around cocky Roman soldier Marcus Vinicius (Robert Taylor) who after three years of successful campaigning returns to savour the delights of Nero’s Rome. Detained at the villa of a retired Roman general Marcus falls for the simple charms of the general’s adapted daughter Lygia (Deborah Kerr) who unbeknown to Marcus is secretly a Christian. Seeing her like for him but not plan the families plan in the adore of a single god and in loving your fellow man despite their background or hurry Marcus has Lygia taken to Rome and placed in Nero’s “House of Women” and seeks to form her is hold. Lygia escapes and is taken in by other believers but in the meanwhile Marcus finds himself the focus of the unwelcome and quite hazardous affections of the Empress Poppaea (Patricia Laffan) . Meanwhile Nero’s meglomania continues to grow and he develops a wild blueprint to rebuild Rome to his enjoy glory and secretly sets the city on fire. The backlash from this act however sets Nero to accumulate a scapegoat and thus begins the persecution of the Christian sect that are, to the amazement of the Romans, the disciples of a simple young carpenter from Galilee who was executed for his beliefs. Marcus finds Lygia however both are imprisoned together as Christian believers to become the sport of Nero’s festivities in the arena. The appearance of the Apostle Peter who has been called to Rome by Christ’s message gives the Christians the strength to endure their ordeals and Marcus and Lygia are married by him impartial prior to his bear matrydom on Vatican Hill. Nero however goes too far in his persecution and the mob turns on him resulting in his topple from power and suicide and the reins of power being taken over by the more level headed General Galba.

While “Quo Vadis”, in some areas is not always just historically the faults are not glaring ones and it does give a colorful recount of the growth of the early Christian movement and the persecution it endured which of course went on long after Nero’s death. First and foremost it is absorbing and dramatic viewing and is the classic example of worn style movie making at its most lavish. The film is filled with unforgettable images, for example the broad crowd scenes during Marcus’ triumpiant entry into Rome, and the burning of the city by Nero which incredibly was done on both stout sized and exiguous sets. The chilly blooded destruction of the Christians in Nero’s Circus of course is probably the most sparkling image in the film and is riverting in it’s scare and correct depiction of people being eaten by lions or being passe as human torches. These scenes in “Quo Vadis”, have I maintain never been bettered in depicting the insanity and brutality of Nero and his regime. Performances are uniformily shapely here. As the two lovers Robert Taylor and Deborah Kerr are honest perfect as the two illmatched lovers from different worlds. Finlay Currie does a most inspirational fragment of work as Peter and special mention must go to Patricia Laffan who is perfect in a chilling performance as the unfavorable Empress Poppaea. Directed by MGM faded Mervyn LeRoy, who was responsible for such diverse MGM productions as “Waterloo Bridge”, and “Blossoms in the Dust”, here he is unruffled impartial as at home with this tidy scale type of film and his directoral integrity is evident in every frame of this film. “Quo Vadis”, ended up being nominated for 8 Oscars including Best Relate and Best Supporting Actor for Peter Ustinov.

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I always bag “Quo Vadis”, a enchanting viewing experience generally around Easter time when my thoughts often go aid to the earliest years of my religion. Liking the older style of movie making I can also enjoy the film on its wonderful technical achievements and massive historical recreation. This however never submerges my appreciation of its very simple message that all people need to cherish each other despite their differences for the world to be a happier plot. Buy time soon to conception this tale production of “Quo Vadis”, you wont regret it.

This biblical legend has Peter Ustinov giving the definitive performance of the emperor Nero, in spite of the motion report code. But then, it seems they were always relaxing that motion narrate code abet in the 40’s and 50’s as long as it was for a biblical story of some kind. In this case, you ogle – although from a distance – lions carrying the limbs of dismembered Christians upon which they are feeding, along with all of the other insinuations of decadence prove under Nero. Robert Taylor, who was normally a rather wooden actor IMHO, did a very sterling job in this one as a Roman soldier entranced by a Christian girl. If you didn’t know better you might judge this film was the work of Cecil B. DeMille, but instead the director was Mervyn Le Roy. Le Roy directed some of Warners fast-paced urban early sound films including Alice White’s musicals, Gold Diggers of Broadway, Cagney’s “Hard to Handle”, Edward G. Robinson’s “Petite Caesar”, and “Three on a Match”. He also directed one of Robert Taylor’s other substantial performances in 1942’s “Johnny Fervent”, unbelievably not yet on DVD. In other words, Le Roy directed many crowd-pleasers. This might justify why this film got seven or eight Oscar nominations, but none for the director himself. He honest wasn’t considered friendly enough by the Academy to be “in the club” in spite of this kindly individual achievement.

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Everyone knows the accepted tale. Nero burns Rome to sure the device for the pretty city he wants to compose, but the peasants are revolting – literally. He then blames the weird and unpopular but swiftly growing sect of the Christians for the burning, and begins feeding them to the lions for the amusement of the Romans. However, the Christians face death so bravely that Rome turns on Nero. Well, that’s the movie.

The facts are noteworthy more in argument. In an feeble city such as Rome, accidental fires that destroyed cities were favorite. In fact Nero did lead a massive relief pains after the fire, and fires fair as tremendous broke out in Rome after Nero’s death. Some historians do have the Christians confessing to the crime. The fact is that the people did originate to circulate rumors that Nero was at fault, and he was responsible for blaming th Christians for the fire to put himself. He ordered to have them thrown to dogs, though, not lions, as in the film. However, like Showtime’s “The Tudors” one can somewhat overlook all of this historical jumping to conclusions and outright inaccuracy in the name of magnificent entertainment.

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Special Features

Disc 1

Commentary by F. X. Feeney — Filmmaker/writer Feeney explores the genesis of one of M-G-M’s most aesthetic, grand-scale productions

Theatrical trailer

Teaser trailer

Disc 2

Commentary by F. X. Feeney continued from Disc 1

Documentary — In the Beginning: Quo Vadis and the Genesis of the Biblical Tale – This documentary walks the road as long and complex as the film itself, from its roots as a Nobel Peace Prize-winning bestseller to its various ground-breaking adaptations to its area as the most fearless and lavish film that MGM, and Louis B. Mayer, dared to undertake.

Technical notes: Quo Vadis was made prior to the advent of widescreen projection and stereophonic sound. It is presented, as in its modern theatrical release, with a 1.37:1 aspect ratio and monophonic soundtrack. Because of its grievous length and detailed photography, WHV has spread the film over two discs in order to maximize bit-rate and insure the highest quality recount presentation.
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