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This is not your father’s uplifting wishy-washy Biblical narrative. This is a violent, dismal, and sometimes depressing account that is quite a change from many religious films.
Based on a new, this film imagines what happened to Barabbas after he was chosen over Jesus to be released before crucifixion. Anthony Quinn is a perfect choice as the unrepentant thief who goes wait on to the world he knows- crime and carousing. His current prostitute Rachel, however, has become a Christian and is later stoned for it. Barabbas is not honest an observer, he sees Jesus go to the crucifixion, and later finds Rachel at the originate grave. Barabbas goes befriend to his frail gang of thieves, murders the recent leaders, and they engage some Jewish clerics. Caught, he is sent to the sulfur mines for life, where he meets Christian Sahak, played by Vittorio Gassman. Sahak knows Barabbas’ name and reputation, and attacks him. They eventually become friends, since they are shackled together in the pit. Barabbas survives in the mine for twenty years, refusing to die. He is tormented by the memory of his arrive death years before, and he sees the sacrifice Jesus made not objective for him, but for all of us.
Barabbas and Sahak survive a cave-in at the mine, and are taken to Rome as well-behaved luck charms by a newly appointed senator’s wife. They are recruited to fight in the coliseum, ruled by a maniacal gladiator played by a very young Jack Palance. The duo also produce contact with a Christian servant, Ernest Borgnine in a microscopic but excellent role. Eventually, Sahak dies for his beliefs at the hands of Palance, and Barabbas has his bloody revenge on the field. Granted his freedom, Barabbas takes Sahak’s body to a group of Christians, who reject Barabbas’ half hearted attempts at Christianity. Barabbas misunderstands God’s word and helps in the torching of Rome, eventually ending up a martyr himself.
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Just under two and a half hours, there are a few dumb spots. The cast is obliging, however, and Fleischer does an impressive job with a cast of thousands. No CGI to rely on here, Fleischer uses his assorted region pieces to their fullest extent without trying to fix or better anything in editing. What is left are a series of scenes that can stand on their contain as highlights in early 1960′s film making, when the cinema was hotly competing with television to fetch viewers abet. The stoning of Rachel, the sulfur mine collapse, the burning of Rome: all are unforgettable scenes.
Two stretches of the film are very memorable. First, an extended sequence between Palance and Quinn fighting in the coliseum. There is no dialogue, objective brutal violence and action. Another scene is the final tracking shot of dozens of crucified Christians, including the now ironic Barabbas. This shot sent chills down my spine.
This film is very black and very different. Barabbas is a man torn between his heathen upbringing, and what he knows is upright through what he has witnessed in Jerusalem and Rome, no matter how mighty he denies what he has seen.
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Produced by Dino DeLaurentiis in Italy, this film has a European feel that makes it different and lends a distinct credibility to the proceedings. The Oscar heavy cast does not topple victim to any preachy speeches or effects laden miracles, these are seemingly ordinary people caught up in tumultuous times. I highly recommend “Barabbas” to any film fan, especially those who assume “Gladiator” is the only decent sword and sandals myth out there.
Although not rated, this does maintain strong physical violence, some sexual violence, gore, and some adult situations.
I’ve often wished for a widescreen edition of Barabbas and now here it is. I became inflamed several months ago when I saw this edition was to be relased on DVD. So here I am on March 5th ordering my copy. I maintain the VHS version which distracts from the salubrious photogarphy. There are some famous things to know about the production of this film: the crucifixion sequece was filmed during an trusty eclipse, a one shot scene. The sets were constructed three dimnesional so the streets of Jerusalem and Rome appear valid. Anthony Quinn was a perfect choice for Barabbas. If you’ve read the book this film will provide a quality visual to the elegant, simple telling of a man’s life, the man who was spared crucifixion and free’d instead of our Lord. Also if you’ve read the book you’ll know what Barabbas is thinking most of the time. Quinn is agreeable, his eyes ever roaming in conception of survival. This is a huge movie shot in a down to earth realistic procedure. A beautiful look in seeking truth, arriving on it’s doorstep only to turn away. Because of the book, when Baabbas is helping plot fire to Rome, I am aware of how truly emotional this last scene in the film is. (I hope am not giving anything diagram in the film) . Barabbas finally makes an launch commitment, acting out on a view system that he’s denied since Christ’s crucifixion, only to ogle in the extinguish it was Nero who dwelling fire to Rome and not the Christians. It’s really all there. The muscal find is unsual and modern. I have the archaic mono 33 1/2 rpm version which gives musical examples at the raze of how Mario Nascimbene wrote and orchastrated the incedibe collect. Sadly enough this outmoded recording is far supeior to the unique CD snort which edited cuts and left out the 5 dinky + prologue. I rate this movie 5 stars. If you like the worn spectaculars this one is current and should be in your library.
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