The Robe

Movie Review: The Robe

Year of Release: 1953
Country of Origin: USA
Director: Henry Koster
Cast: Richard Burton, Jean Simmons, Victor Mature, Michael Rennie, Jay Robinson

Plot outline: Marcellus, a tribune in the time of Christ, is in charge of the group that is assigned to crucify Jesus. Tormented by nightmares and delusions after the event, he returns to Palestine to try and learn what he can of the man he killed (IMDb).

The script emphasizes physical action more than the drama of feelings and words. The power of Christ's presence and spirit upon a Roman tribune's slave and then, in time, upon the tribune is not developed in clear dramatic terms; it is simply presented as an assumption upon which the subsequent action turns. The consequence is that the inspiration of the spirit, which is the key to the story that is told, is a matter of sheer deduction from the surge of music and the expressions in eyes. Likewise, the slowness of the pacing through many of the major sequences and the intricacies of the plotting, which run the picture for more than two hours, tend to affect the burdened senses with a feeling of frank monotony. However, the vastness of the images, the eye-filling vigor of the action and the beauty of some of the shots compensate with fascinations and excitements that keep the customer upright in his chair. And the performances by the actors are - all things considered - remarkably good. Richard Burton is stalwart, spirited and stern as the arrogant Roman tribune who has command of the crucifixion of Jesus and who eventually becomes a passionate convert through an obsession about the Savior's robe. Jean Simmons is lovely and impassioned as the Roman maid who loves this headstrong man, Victor Mature is muscular and moody as the early converted Greek slave. Michael Rennie is solemn and transcendent as Simon Called Peter, whom they call "the big fisherman", Dean Jagger is full of piety as a humble convert and Jay Robinson is warped and shrill as Caligula. Several other actors comport themselves in minor roles according to the moods of the occasions that director Henry Koster has decreed. It is notable that Christ is seen only as a wide-robed figure on a distant hill and a tormented, indistinguishable victim burdened beneath the heavy Cross. In this respect the picture has dignity and restraint. (NYT)

My judgement: **1/2 out of 4 stars