Quo Vadis

General Marcus Vinicius (Robert Taylor) returns to Rome after battle and falls in love with Lygia (Deborah Kerr), an adopted daughter of a fellow general, but effectively a hostage and considered a no no. When she is presented to him as a gift, things are further compounded by the fact that she is in secret a Christian. Enter Emperor Nero (Peter Ustinov) who orders that all Christians must be thrown to the lions, leaving Marcus with no option but to deny his Pretorian ways and to try and save Lygia and her family. Rome, will never be the same again.

A big, bold and lavish historical epic out of Metro-Goldwyn-Mayer that's directed by Mervyn LeRoy, shot in glorious Technicolor by Robert Surtees & William V. Skall and is scored by Miklós Rózsa. Joining the big hitters in the cast are Leo Genn, Finlay Currie, Felix Aylmer & Abraham Sofaer. While the adaptation of Henryk Sienkiewicz's novel is written by S. N. Behrman, Sonya Levien & John Lee Mahin. There's no denying that Quo Vadis, meaning "where are you going" and appertaining to the encounter between St Peter and Jesus Christ on the Appian Way, is a technical spectacle. It's also tough going for its over talky melodramatics during the first 90 minutes, but you just have to stay with it, once you are in, you are in for the long haul. A whole afternoon in my case!

For its time, this was the bigger than than biggest, a studios dream, the cast of thousands, the sets, the costumes and the gazillion speaking parts that make up the story. It's also a point where the historical epic became more than just entertainment and a reason to make money. No doubt about it, Quo Vadis is very pro Christian, it has something to say, even if ultimately it takes a long time to say it and is historically dubious. There's thought and intelligence within, with that, it pays to pay attention and sample the dialogue whilst feasting your eyes on the magnificence that surrounds the characters. Once the worthwhile action kicks in, it's no let down, the fights in the Coliseum, the burning of Rome (we can thank the great Anthony Mann for that one) and the dramatic climax, all make the time spent leading up to them more than worth it. The cast are mostly agreeable, Kerr is gorgeous as ever and Taylor is, ahem, straight as ever, while Ustinov goes full tilt campy loony. Genn steals the movie as Petronius while Patricia Laffan as Poppaea Sabina gives one of the most sensually minx like portrayals given in an historical epic.

Some may find the religiose aspects over bearing, but the spectacle does win out. Looking as gorgeous as ever now after being remastered, Quo Vadis is a must see for like minded historical epic fans. It's some way down the pecking order of the genre greats, but still a must see movie regardless. 7/10

At Last one of the great classic Hollywood blockbuster epics of the early fifties has finally found its rightful DVD home with this exceptional two disc release from Warner Home Video.

Produced by Sam Zimbalist for MGM in 1951 and expertly directed by Mervin LeRoy "Quo Vadis" was Hollywood's first wallop in the fight against the onslaught of Television. Available at first, and for many years only on VHS tape, it then began to appear on a plethora of foreign DVDs but with varying quality it must be said. One such unfortunate issue, which originated in Korea, was released without any opening credits whatsoever! I kid you not! That said - we now thankfully have it in our possession and a superb issue it is! With perfect pristine colour resolution, Robert Surtees' Acadamy Award nominated colour Cinematography comes across with well defined and plush imagery. The various cast members are attired in the most gorgeously coloured costumes. Particularly dazzling is the golden uniform worn by the picture's star Robert Taylor as he proudly bears himself aboard his golden chariot during his triumphal parade through Rome.

Also here is Miklos Rozsa's outstanding Acadamy Award nominated score! His main Roman motif, bold and strong, dominates the scenes in the Forum and in the Arena. In gentler mode is his beautiful love theme for the scenes with the star-crossed lovers Marcus and Lygia. Then there's the frenetic bacchanal-like Hymn of the Vestal Virgins followed immediately by the robust and heroic Triumphal March. Also heard on this issue - and for the first time since the original roadshow release 56 years ago - is the composer's Overture and Exit music. The great Rozsa would barely eclipse his "Vadis" music eight years later with his Oscar winning score for "Ben Hur".

The assembled cast are uniformly excellent except, perhaps, the syrupy and simpering characterization of Deborah Kerr as Lygia. But Robert Taylor is fine in what is probably his best known role as Nero's legion commander Marcus Vinicus. Outstanding is Leo Genn as Petronious - the sardonic and sarcastic confidante of the tyrannical Emperor Nero. And of course there is the wonderful Peter Ustinov chewing up every bit of scenery there is as the crazed and loony Nero. Both Ustinov and Genn were nominated for Acadamy Awards. The picture is also buoyed by some colourful and elaborate set pieces such as the Vestal Virgins singing and wildly dancing in homage to the goddess Vesta, the spectacular triumphal parade of the Roman legions taking the salute from Nero as it passes the great palace, the exciting chariot chase, the brilliantly staged burning of Rome and the harrowing scenes in the Arena as the lions are released on the hapless hymn-singing Christians.

These scenes all come across extremely well on this excellent DVD which comes with a trailer, a splendid 45 minute featurette "Quo Vadis And The Genesis of the Biblical Epic" and a commentary by one F.X. Feeney who persists in calling the leading lady's character Leega instead of Lygia and neglects to tell us that the opening narration is spoken by MGM favourite Walter Pidgeon (uncredited). However this is only a minor quibble and does nothing to diminish the greatness of this issue. Bravo Warner Home Video!!

Henryk Sienkiewicz was one of Poland's great historical novelists, and one of the first recipients of the Nobel Prize for literature (1905). It has only been in the last decade or so that translations of other novels by him have appeared in English, but his major work, QUO VADIS?, has been known since it appeared over a century ago. It was a study of the early days of the Christians in Rome, and their first persecution by the Emperor Nero (54 - 68 A.D.) It concentrates on the burning of Rome and the persecution of the Christians (including the death by crucifixion of St. Peter). So the background is identical to Cecil B. DeMille's THE SIGN OF THE CROSS. Inevitably comparisons between the two films, their plots, and the performances of the two Neros (Charles Laughton and Peter Ustinov) result.

But the two stories are not the same. Sienkiewicz threw in far more of the history of the Rome of that period than the author of the play THE SIGN OF THE CROSS did. And because of his deeply felt commitment to his faith, Sienkiewicz showed the destruction of Nero's rotten regime and the first triumph of Christianity. THE SIGN OF THE CROSS does not do that - my comment there was that DeMille never made such a pessimistic and tragic film in his career, with all the good people being destroyed and Nero (at that time) triumphant. This does not happen in QUO VADIS, where the corruption and incompetence of the regime finally loses the support of the people (and ... ironically worse ... the army!).

There is also the addition of the leading poet-courtier of the day, Petronius Arbiter. A man of wit and taste, Petronius was one of several figures of literary note in Nero's court, and one of several to meet tragedy by being near that egomaniac. The others were led by Nero's original chief minister Seneca, the stoic philosopher and dramatist. Seneca's nephew Lucan was also a leading figure in the court. Both men were eventually turned into foes of the regime, especially as Seneca fell from his ministerial position after the murder of Nero's mother Agrippina. Petronius managed to avoid the political conflict that involved the other two, but the Emperor's irrational jealousy helped link the three. Lucan wrote a savage epic poem against the Imperial family (PHARSALIA) which signaled his rejection of the regime. Lucan joined a conspiracy against Nero led by a Senator named Piso. It was discovered, and Lucan and Seneca implicated. Both were forced to commit suicide (by opening their veins). Tigellinus, Nero's leading adviser, insinuated that Petronius was involved too (he wasn't). Petronius also committed suicide the same way, but wrote a witty and accurate denunciation to Nero which was given to the Emperor after the writer's death.

Petronius' major surviving work, THE SATYRICON, was a wonderful look at the rot at the center of the regime of Nero. It (by the way) was turned into a film by Fellini in the late 1960s.

Leo Genn brought Petronius and his delicate wit and taste out in the film, and merited the Oscar nomination he got for this - his best remembered role (aside from Dr. "Kick" in THE SNAKE PIT). Ustinov brings a degree of frailty to Nero - an uncertainty as to the acceptance of his public persona. He flails about between seeking the approval of the artists like Petronius and those who manipulate the tyrant in him (Poppeia and Tigellinus). Despite his vicious evil one sympathizes with him - he is a sick man. And his reconstruction program (he burns down old Rome to create "Neropolis") is on par to that of another tyrant of more recent vintage, who planned to build a world capital called "Germania" over Berlin's bones. He too left many bones, but it is hard to consider him at all sympathetic.

As spectacle and history QUO VADIS? is quite rewarding. It may telescope the events of 64 - 68 A.D. (when Nero committed suicide with assistance), and avoid the three brief Emperors who ruled after Nero within the year (Galba, Otho, and Vitellius) before Vespasian came back from the war in Israel to take the throne for a decade - but it does show how Nero's regime collapsed. DeMille never tackled it. But despite those two omissions the film does do the period pretty well.

Robert Taylor is more effective as a military commander / hero than Fredric March had been in SIGN OF THE CROSS. Deborah Kerr is more believable as an early Christian convert. And Finley Currie is wonderful as Simon Peter - who realizes that he must die for the Lord that he once denied. His end is based on a legend that Peter was crucified upside down, supposedly at his request that he did not deserve to be crucified in the same way as the Lord he briefly failed. Altogether a superior religious - historic epic.

Quo Vadis is a good movie, but I personally don't consider it a truly great one. I did find some of the religious aspects over-bearing, some of the script rather stilted(Petronious' philosophical lines excepted) and a little rambling and bloated in the story and pace. Problems aside, Quo Vadis is a film of visual spectacle and grandeur. You can never go wrong with sweeping cinematography, lavish scope, sets and scenery and colourful costumes and Quo Vadis succeeds in all these areas. Mervyn LeRoy directs excellently, while Miklos Rosza's score is absolutely magnificent. The performances are solid, Robert Taylor does a good job playing it straight and isn't too dull and Deborah Kerr is as ravishing as ever, but it is Leo Genn playing Petronious more than admirably and especially a superb Peter Ustinov as Nero that walk away with the picture. All in all, a solid film albeit not one without its flaws. 7/10 Bethany Cox

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. The film is unequalled in production values, costumes, sets, musical score, etc. As far as the script is concerned, it is a bit weak, the screenplay not being adapted well from the classic novel about Rome. The only actor to watch in this is Peter Ustinov as the psychotic emperor Nero. Ustinov steals the film from everyone else.