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THE ROBE (1953) Starring: Richard Burton, Jean Simmons,
Victor Mature, Jay Robinson, and Michael Rennie Directed by Henry Koster Nominated for five Academy Awards: Best Picture Best Actor, Richard Burton Best Color Cinematography Best Costume Design (win) Best Art Direction (win) Those who know about this movie, or have seen
it, should know that the only reason it is remembered by anyone is because it
introduced the world to CinemaScope, the very first widescreen movie (or so
it claimed at the time, but what we refer to as widescreen today was
accomplished well before this movie). The movie took Richard Burton out of
playing supporting role and allowed him to lead his very first film to
victory at the box-office. It grossed well over $36 million dollars, and
adjusting that figure to today's dollar, that $36 million turns into over
$350 million dollars. People flocked to see it, some who religious fanatics
believing it was their obligation to see it. But whether or not it was a
critical success or not, I have absolutely no clue, but watching it today I
only see a flamboyant and foolish looking movie with some of the most
atrocious acting even put on film. Luckily for Burton, who wasn't a fan of
his screen role in the film, would go on to star in far more memorable films
such as BECKET and WHO'S AFRAID OF VIRGINIA WOOLF? Burton is Marcellus Gallio, a Roman officer
whose only reason for being highly regarded in Rome is due to his father
being a Senator. He and his childhood sweetheart Diana (Simmons), flirt and
he and Emperor in the wings Caligula (Robinson), clash and so on and so
fourth. Life is pretty average for him until he is sent to help in the
crucifixion of Jesus Christ, who is believe to be a sorcerer of kinds and
spreading propaganda about a false King (who is of course God). So Gallio
trots off to participate in the crucifixion with his Greek slave Demetrius
(Mature), who defies his master when the man condemned to die looks into his
eyes and changes his life forever. While Jesus sits on the cross, Gallio and
other Roman officers gamble away and what not. Before the cross lies a red
robe, which is snatched up by Demetrius who knows that while he holds it, is
close to his new found faith in God. He leaves his master, but before he does
attempts to wear the robe over his head to shelter him from the rain and all
of a sudden tremendous fear takes over and he can't shake the feeling after
returning to Rome. Believing he has gone mad, attempts to find his former
slave and destroy the robe, believing that it is the source of his sickness
in the head. But before you can say amen to that, Gallio, who once
found the notion of being kind and good to his fellow man a waste of time, is
turned around into a follower of God and spreads the word in his name. But
all is not well in Rome, as selfish Caligula takes over due to the previous
Emperor kicking the bucket, and he isn't to happy to happy with Gallio
betraying Rome and for being the only person that Diana, who he has the hots
for, loves. If only the bible had such a quirky little romance going for it. The movie is silly when it is at its best, the
only redeemable thing going for it is the story itself. But the acting is
just plain bad, and if you really want a good chuckle then Robinson's
performance is a must. Those familiar with Michael Palin's performance as
Pontius Pilate in MONTY PYTHON'S LIFE OF BRIAN will instantly
recognize where Palin got the inspiration for his hilarious performance,
though in all honesty both performance are a riot (with only being intended
to get laughs). Burton's inspiration for taking on the project must have been
for the paycheck, and Simmons, a wonderfully gifted actress (who has starred
in such masterpieces as BLACK NARCISSUS and HAMLET), is reduced
to playing the love struck gal who just wants to be close to her man. Mature
gives the films most solid performance, not succumbing to going over the top
when it comes to emoting faith and love. In fact, he would star in the
sequel, DEMETRIUS AND THE GLADIATORS, which wound up being far more
superior to this jungle of mixed emotions and set pieces. Director Henry Koster (who had directed Burton
the year before in MY COUSIN RACHEL), was obviously clueless when it
came to filming the movie in widescreen format. The actors are always at a
distance, so much so that there are moments when you don't realize who you
are watching (unless you rent the pan and scan version). He can't even
capture the glory of the elaborate set pieces, which in all honesty are
nothing to marvel at anyway. Burton is at his weakest here, forcing emotions
that he doesn't seem convince exist within the story to begin with. It is an
interesting notion with what the film works with, and the story never does
lag on one thing (it barely hits the two hour mark), but it is nothing but a
string of miss opportunities and bad acting, and the talent involved play
second fiddle to the new technology it is working with. A shame. My Grade: C- |