King of Kings (1961 film)

Plot

In 63 BC, Roman general Pompey conquers Jerusalem, sacks the Temple, and takes the Torah scrolls from the Holy of Holies. Years later, rebellions against Rome lead to mass crucifixions and Herod the Great is placed on Judea's throne. Joseph and Mary travel to Bethlehem for a census; Jesus is born in a stable and visited by shepherds and Magi. Herod orders the Massacre of the Innocents, but Mary and Joseph flee to Egypt.

Herod dies, killed by his son Herod Antipas, who succeeds him. Jesus, now twelve, works with Joseph in Nazareth when Roman centurion Lucius registers his birth. Later, rebels Barabbas and Judas Iscariot ambush the caravan of new governor Pontius Pilate and his wife Claudia; the attack fails. Pilate and Herod Antipas meet at the River Jordan, where John the Baptist baptizes Jesus.

Jesus spends forty days in the desert, tempted by Satan, then recruits his Apostles in Galilee. Herod Antipas arrests John; Jesus visits him in prison.

Judas leaves Barabbas to join the Apostles. Jesus preaches to crowds including Claudia and Lucius. Herod reluctantly beheads John at the whim of his stepdaughter Salome.

Production

Director John Farrow began developing a Jesus film titled Son of Man in February 1951, intending to produce it independently for under $800,000. By November 1951, the project was at Nassour Studios, with Farrow seeking an actor of high personal character. Farrow's other commitments delayed the project through the mid-1950s. In January 1956, Farrow negotiated with RKO Pictures for financing and distribution, and in March he sought an unknown actor who would not appear in another production for up to 20 years.

After signing to direct John Paul Jones for Samuel Bronston in October 1957, Farrow and Bronston formed the production company Brofar. In November 1958, they collaborated on a Jesus film. Sonya Levien was hired to write the final script in May 1959, but by October 1959 Farrow left over creative differences, objecting to Bronston's wish to whitewash Jewish leaders and blame only Romans. Associate producer Alan Brown noted the script was merely the Four Gospels with archaic language.

Nicholas Ray then directed, hiring Philip Yordan for a new script. Filming ran from April to October 1960. Financing came from Pierre S. du Pont III and other private investors; MGM became involved after Ben-Hur's success, requiring rewrites and additional scenes. Reshoots occurred in December 1960 and May 1961.

Release

MGM acquired distribution rights in June 1960, planning a roadshow follow-up to Ben-Hur. The film premiered at Loew's State Theatre in New York City on October 11, 1961, and opened in Los Angeles on October 13. Roadshow engagements began in 22 key U.S. cities. Home video releases include DVD (1999, 2003), Blu-ray (2009), and Region 1 widescreen disc (2011), with streaming on Amazon, Apple iTunes Store, and Vudu.

Reception

Initial critical reception was mixed. Time called the film the corniest, phoniest, and most monstrously vulgar of big Bible stories from the previous decade. Bosley Crowther of The New York Times described it as an illustrated lecture and a peculiarly impersonal film that constructs random action around Jesus without building a living personality. Robert J. Landry of Variety praised it as a major motion picture that succeeds as spectacle and touches the heart.

Philip K. Scheuer of the Los Angeles Times wrote that it is not great art nor the definitive photoplay about Jesus, but is permeated by soberness of purpose; he found it glossier than the 1927 DeMille film and dramatically between Ben-Hur and Francis of Assisi. Harrison's Reports gave its top grade of Excellent, stating the film would leave an enduring imprint on motion picture history and a memorable impact on viewers. Richard L. Coe of The Washington Post panned it as a picture that never should have been made, arguing that portraying Jesus as a universal, non-controversial figure excises his dynamic, revolutionary concepts and makes his journey a hollow ritual.

The Monthly Film Bulletin noted curious interpolations and omissions, and found the overwhelming failure to be in finding any style beyond insipidly conventional Bible illustrations. Miklós Rózsa was nominated for a Golden Globe Award for Best Original Score.