Sansone (Samson, 1961)

I'm writing on, reading about and teaching on Italian cinema at the moment and have a session on the 1950s peplum films in a few weeks, so I thought it was time I watched Gianfranco Parolini's Sansone (Samson, 1961) as I've never seen it before. It was a film that I had looked into a little when I was compiling my book, but couldn't remember all the specifics of why I decided to include I grandi condottieri (Samson and Gideon, 1965). It was practically the only film to cover the story of Gideon and that was all I remembered.

Turns out that another big factor is that, despite the title, Parolini's Samson has nothing, really, to do with the biblical strongman, aside from the characters' mythical super-strength. As I mentioned in my list of films "about" Samson many of the Italian-produced Samson films from this era "have very little to do with the Book of Judges". 

Indeed these peplum films all play pretty fast and loose with the original stories of their heroes, even to the extent that the names of the title characters changed from country to country. For example, the strongman hero of Giovanni's Pastrone's Cabiria (1914) – Maciste – was then made the star of many of his own films,[1] such as Maciste nella valle dei re (1960) and Zorro contro Maciste (1963), but these titles were changed in English language regions to Son of Samson and Samson and the Slave Queen respectively.

In this case, the title in English regions was a straight translation (Samson) but in France it was released as Samson contre Hercule – Samson against Hercules. That would clue most people in to the fact that this is very much a new story spinning off the mega success of Le fatiche d'Ercole (Hercules) three years earlier in 1958, the film which is usually credited with sparking the peplum trend in Italian filmmaking. Hercules does not feature in the Bible. Interestingly, in both English and Italian this character is called Hermes (these days renown as a popular mail delivery service) but not generally regarded as a legendary strong"man" who might be passed off as Hercules (as he was in Spain as well as France). Ironically one of the traits if Hercules in these films is his association with pulling huge chains. Here though, it's Samson (played by Brad Harris, who starred in Il vecchio testamento (1963)) who gets that particular task (see below).

So in fact the film has nothing really to do with the biblical story. There's no Delilah, lion-wrestling, woman from Timnah, honey riddle or jawbone of an ass, or even a mention of God or the Israelites, just a super-strength hero running around in little more than his underpants. 

Plot-wise the film is fairly conventional, fitting neatly into the broad plot summary given by Robert A. Rushing in his book on the peplum "Descended from Hercules" 

A cruel, unjust, and foreign ruler has usurped the throne and oppressed the people. There can be minimal variations in this setup – for example, the unjust ruler may not be foreign but instead may be manipulated by foreign agents; he may be the proper, just ruler, but under a magic spell (cast by a foreign agent); or the unjust ruler may be an evil, seductive (often redheaded) queen – but the basic structure is always the same. Hercules must depose this cruel oppressor and free the people by restoring the legitimate ruler to the throne. The strongman is almost always a disinterested outsider with minimal or no ties to the throne in question; any suggestion that he could be a political threat or represent the forces of instability and anarchy is completely absent.[2]

Here there is a seductive queen, Romilda (Mara Berni) who is being manipulated by Serge Gainsbourg's "weasel-like" Warkalla who as Barry Atkinson goes on to point out never really convinces you that he "could boss whole legions of hard-bitten soldiers around.[3] Samson and Hermes (peplum regular Sergio Ciani aka Alan Steel) team up along with two of Samson's sidekicks and after seeing off scores of soldiers many, many times, manage to return the kingdom of Sulom to its rightful (boy) king.

There are a few good moments. Samson's tug of war across a fire-pit with a whole troop of soldiers (pictured above) sticks in the memory. As does a scene where the spiked walls on Samson's cell gradually close in on him (powered by a group of soldiers working a slave-powered mill - similar to that Victor Mature pushes at the end of DeMille's 1949 take on Samson and Delilah). Simultaneously, the mechanism also stretches out Samson's female friend Janine (Luisella Boni). It's tempting to think this scene may have inspired the walls closing in scene from the original Star Wars (1977), but that seems a stretch even if it's impossible to to think of that scene when you see this one.

Speaking of Janine, there's very little chemistry between she and Samson, or between him and either of the other two significant women in the film, even though he has scenes alone with all three of them. Indeed the only real chemistry seem to be between Harris and Steel. Otherwise it's all fairly lacking in interest. The scenery and cinematography look good though.

Incidentally, I kept going back and forth about whether to watch this one in the Italian dub or the English one (pepla rarely use live sound and often actors recorded their lines in the own language. There is no "original" version so to speak), and eventually went for the English which paid off. Although Harris gets surprisingly few close-ups or even mid-shots, he does get a sizeable chunk of the dialogue and I didn't find the dubbing of the other characters as troubling as it is sometimes.

So this isn't required watching for Bible film enthusiasts, but it's a reasonable example of Italian peplum even if it's hardly the sub-genre's finest.

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1 - Wikipedia currently lists 29 Maciste films (including Cabiria) in the silent era and a further 25 during the 1960s as well as a couple by Jesús Franco in 1973.

2 - Rushing, Robert A. (2016) Descended from Hercules: biopolitics and the muscled male body on screen,  Indiana University Press, pp.13-4.

3 - Atkinson, Barry (2018) Heroes Never Die: The Italian Peplum Phenomenon 1950-1967, London: Midnight Marquee Press. p.133 & p.134.

The Prince of Egypt: The Musical (2022)

Shot in London's West End, the film of the stage production of the musical of the film is showing in UK cinemas at the moment. It's billing itself with a quote from Stefan Kyrias that "musical theatre doesn't come bigger than this" and even though it's been a hit on the West End where it played to packed out audiences, I'm surprised to see quite such a crowd turn up to see it on a damp Thursday evening in Leicester, with tickets twice the price of watching a standard movie.

Dreams works' The Prince of Egypt (1998) was a massive hit when it launched 25 years ago. The studio was just starting out, hadn't yet been defined by the Shrek franchise and the promise of The Prince of Egypt was quite something. The blend of traditional hand-drawn animation and restrained-but-tactical use of the emerging CGI made for some spectacular scenery and action sequences. 

Of course stage musicals, even filmed ones, are a very different medium to cinema and while there was an arena version of Ben-Hur some years ago the director of this musical, Scott Schwarz (son of the film's composer Stephen Schwarz) decided to take things in a different direction. Instead of simply compensating or making-do Schwarz leans into musical theatre's strengths, particularly dance and more expressionistic use of the stage and props. At the same time the stage's backdrops are video projected. 

Both the choreography and the backdrops produce rather mixed results. The opening number, "Deliver Us!" is strong and merges seamlessly in to "Hush Now my Baby". This ends with an incredible piece of chorography where the dancers reproduce the effects of the waves with incredible grace, energy and unpredictability which is simply astonishing. 

But then, as with the movie, we're introduced to the adult Moses and Ramses in the chariot racing scene. Yet instead of the whooshing, fast-cut action of the movie, Moses and Ramses are hoisted up by some of their fellow cast members and they bump around occasionally leaning left or right to indicate turning or avoiding obstacles. Compared with the opening number this is a major disappointment. I should add here I know little about stage-musicals or choreography, so if you do know about those things don't listen to me. I'm writing this just as a punter.

The video backdrops fare likewise, the room with the hieroglyphics, which created such a memorable scene in the movie is decorated entirely differently. This is a wise move because that scene is re-enacted with a mix of minor backdrop motion and (primarily) choreography and it works very well. But the detail of these decorations is nicely executed. At other times if feels much is lost from the days of traditional backdrop being pulled up or down behind the curtain. The changes are smoother, but it feels like the level of artistry has dropped. Also if there's an artistic reason why one of them looked like the screen ratio was wrong (an oval-shaped sun) then it escaped me.

These are some of the changes the musical (and specifically this production of it) makes to the film. The most notable is a number of new songs which again vary in quality, though they've not had the benefit of a quarter of a century of getting ingrained in my consciousness. There's nothing as instantly transfixing as "There Will be Miracles" (which is still great here), but one or two feel on par. 

We also lose "Playing with the Big Boys", which I was never particularly enamoured by. This is in part because the twin roles taken by Steve Martin and Martin Short in the movie are condensed into one. Hotep, played with real menace by Adam Pearce also has a greatly enhanced role. Rather than comic relief (although he does produce some, as well as a touch of magic) he's portrayed as more of the power behind the throne. His endorsement of Seti and his father's reign as Pharaoh has proved decisive and can easily be withdrawn. Pearce absolutely makes the most of his build and unsymmetrical features, effortlessly moving between contrasting moods like his voice which performs both some of the lowest notes in the production and some of the highest among the male cast. Apparently he's done Sweeney Todd, my favourite musical, in the past. I wish I could have seen that.

Another fantastic performance is Christine Allado's as a surprisingly sexy Tzipporah. Exhibiting both fierce and tender sides she is captivating in almost every scene she features in. And again, her role is enhanced from that in the movie where she pretty much disappears once Moses gets God. Here it's her and Miriam that provide Moses emotional support in the latter stages of the film. Aaron is relegated even further into the background. Alexia Khadime's Miriam brings real excellence to her songs, by far the stand-out performer. Luke Brady as Moses are Liam Tamne as Ramses are fine, and their emotional heft grows surprisingly as the film goes on, but it's the supporting characters who really steal the show.

The other two changes are around the burning bush scene and the plagues. Here again the choreography does a lot of the heavy lifting, but it feels like too much weight is put on its shoulders. The idea of having a chorus of voices speak as the voice of God is theologically and artistically interesting, but somehow feels underwhelming. In similar fashion the plagues rush by, it's difficult to really discern when one ends and the next starts. Perhaps that's not a major issue, and perhaps the intent is to leave the audience experiencing a degree of disorientation to convey the experience of the ordinary Egyptians, but for me it fell a little flat, that is, at least until the final plague.

 The initiation of the Passover and the death of the first-born Egyptians is always a tricky moment in Moses dramas. How much sympathy can you give to Ramses and the ordinary Egyptians without making God seem like the villain? How much joy can the Hebrews experience without minimising the Egyptian suffering? Here the balance is stuck by the women of Egypt walking on stage cradling what look like their now lifeless babies. Then each in turn shakes out the blanket their baby is wrapped in and it cascades down, but the baby is gone. The blanket is laid out of a block before them and they fall to their knees behind it. It's an emotionally powerful scene, and a reminder of the suffering that happens to the ordinary people, and particularly the women and children behind the scenes of this conflict and countless others up to the present day.

I must admit I was a little caught off guard by the film's emotional impact on me. I sat on the front row of quite a big theatre and could therefore see even very subtle tears from the performers. This was one of the strengths of watching this as a film. I can't imagine most of these tears would be visible for those watching the event live in the theatre. Of course even though the film was shot while the play was being performed to a live audience, obviously the actors knew that it was also being filled. Were the tears part of their method, or a little extra for those of viewing in close-up ion a big screen.

With a filmed theatre experience like this, it's hard to know where the line falls between the responsibilities of Scott Schwarz as director of the play and Brett Sullivan's as director of the film. Most of the ones discussed so far will be down to Schwarz, but that still leaves an awful lot to Sullivan. 

Take for one example the one shot that really surprised me. Presumably it was Schwarz's decision for children of Israel to move down the aisle as part of the Exodus, but presumably it was Sullivan's decision to film this in a panning shot from in front of the audience. As the film audience we'd been aware of the live audience throughout, clapping and cheering in between numbers, for example, but the frontal pan revealed something else: they were all wearing covid-masks. This added a major note to the context of the film. We thought the audience were like us. But they weren't. They were those poor people struggling to put normal life back together again after the worst global health crisis of our lifetimes. Our past selves, perhaps attending a public event for the first time since lockdown. Perhaps nervous (as I was in my first post-covid theatre trip) of catching or spreading something. And that this happened at the moment the Israelites also finally received their (real and far more viral) freedom certainly added something.

That nuance is made all the more interesting given how the filmed-stage musical compares with the original movie. In the original, Ramses acts the way he does because he feels the weight of his father's warning not to be the weak link, but it's nevertheless framed as Ramses' decisions and the theme of personal responsibilities – particularly the different ways that Ramses' and Moses handle them. Here however, it's different. The musical lessens Ramses' responsibilities for his actions by  putting additional pressure on him. His father's warnings not only relate to maintaining continuity with the past, but also to his present situation and his family's future. Seti's dynasty's hold on power is fragile. He and Ramses rely on the political good favour of Hotep and the priests as well as other Egyptian aristocratic families such as that of his wife Nefertari and the people in general. For a while the emphasis shifts from personal responsibility to problematic power structures.

As anyone who has seen the musical will know [Spoilers: select text to read] faced with hunting down the Hebrews as they flee across the bed of the Red Sea, Ramses decides to let them go free, his kingdom will survive without them. Hotep and some soldiers charge on in ahead, As a result Ramses survives, and lives to rule without Hotep's malign influence. It's interesting how this changes things. Historically we know that Ramses was capable of political spin, but there's no evidence on the Egyptian side that an exodus of slaves did his rule any real harm. Moreover, in the original story Ramses is the representative of Egypt and is the bad guy. Earlier retellings of the story, including the 1998 film, have maintained that, but sought to makes a key element of the story an Anakin→Vader-type narrative. Now we're back to the uncomplicated bad guy again, only this time he's just an Anubis in sheep's clothing.* It's interesting to see how this appears to favour the benevolence of monarchs above that of priests. [End of spoilers].

Overall, while it seems unlikely those who disliked the original film will be any more taken with this boomeranging adaptation, except perhaps for Sean Cheesman's at times inspired choreography. But for those who loved the original, or who are just intrigued by fresh adaptations of the biblical narratives, then this is certainly an interesting take on the original, both capturing enough of the essence of the original across the change of medium, while also bringing some fresh and distinctive elements.

Review: The Book of Clarence (2024)

The Book of Clarence premiered on Wednesday at the London Film Festival, so while it won't be on general release until January I paid to see it at the festival yesterday and there was even a brief introduction by director Jeymes Samuel beforehand.

Samuel is best known for his 2022 western The Harder They Fall which told a fictional story based on real life Black characters from the wild west.¹ This time around the approach is slightly different. The Jewish characters in the story, including minor roles for Jesus, Mary Magdalene and Jesus' parents are Black.² The Romans are white.

Moreover the intention was slightly different too. Whereas with The Harder They Fall, the aim was to create a new story to bring together real historical characters, here he was more focused on capturing the essence of the majority Black areas of London he grew up in.  "I wanted to tell a story around that environment but translate it back 2000 years".³ It's a subtle, but significant difference. This is the 'world' that the real life characters (including Jesus) are inserted into. The film is not intending to recreate historical reality.

The Book of Clarence and the biblical epics
Just as important to note is the change in tone and genre. On one level the earlier film was a more serious dramatic film, albeit with occasional moments of humour. However, Clarence is more of a comedy drama. It's not an out and out comedy like Monty Python's Life of Brian (a film to which it be forever compared, nevertheless), but the tone is lighter, zany and more comic.

Genre-wise Samuel the film is an assured move from one popular 1950s Hollywood genre – the western – to another, the biblical epic.That this is firmly the territory that Samuel (also known as The Bullits) has entered into is clear from the opening 30 seconds which tips the hat to an array of biblical epics in quick succession. The opening shot starts with not three crosses as in most Jesus films, but a sea of them as in Spartacus (1960) and Life of Brian. Then the credits begin Quo Vadis?/The Robe style with gold 3D lettering on richly coloured, cloth-texture background. Then as we cut back to Jerusalem a subtitle tells us, Python-style, the time and place with unusual precision. Moments later we're witnessing a chariot race through the streets that not only evokes The Prince of Egypt (1998) and the 1959 Ben-Hur but the 2016 version too (though that may not be so deliberate). It's so purposefully and precisely executed that it makes the Coen Bros. Hail Caesar! (2016) look like the work of fake fans. The tips of the hat continue as the film progresses. There are two references to The Passion of the Christ late on in the film one of which is hilarious and audacious, the other of which is understated and bold.

The other aspect of the film which will stand out to Bible film aficionados is its extensive use of Matera in Italy. This was the historic site which Pasolini used for his Jesus film Il Vangelo secondo Matteo (1964) which at the time was neglected and underappreciated, now an UNESCO heritage site and popular location for biblical movies. King David (1985), The Passion of the Christ (2004) and Mary Magdalene (2018) are just a few of the films that were shot there. Here, though, it appears that barring the occasional interior, the entire film was shot in Matera. This gives a far greater feel for the city itself, it's layout and stunning surrounding geography and that gives a sense of continuity to the film itself. It captures the isolated nature of the story itself. A community translated back 2000 years.

One further way that the film recalls the biblical epics is the way it shifts the action so that Jesus is not the centre of attention but rather a fringe, and in this case fictional, character. Here that character is Clarence (LaKeith Stanfield), whose twin Thomas (also  has already left their ageing mother to follow Jesus. Clarence is hardly a pious moralist, but he's annoyed by this. Now he has to provide for her on his own and having resorted to increasingly desperate measures to find income, including racing chariots against Mary Magdalene, he now finds himself in debt to local boss Jedediah. 

Faking miracles
Sensing safety in numbers he tries to join Jesus' followers, but finds his followers unwelcoming, even after freeing the gladiator / slave Barabbas (Lupin's Omar Sy). So he hits on the idea of forming his own mass movement. Believing Jesus to be a fraud, who fakes his miracles, Clarence decides to do likewise. It's not long before his phoney miracles (using his friends as stooges) and his slickly-rehearsed sermons are starting to pay off.

Much of the discussion about Clarence has been around whether the film disrespects Jesus, not unlike the controversy around Life of Brian 44 years ago. This time around, it's even more clear here that Clarence is not Jesus. The two appear at numerous points in the film and even speak to one another on a few occasions. It also becomes clear that despite his unwelcoming and posturing disciples and Clarence's initial low opinion of him, Jesus does have the power to perform genuine miracles. That might be true of the Jesus of Brian as well but here it's far more clear and explicit than just the claims of an "ex-leper".

Yet this is hardly a conventional portrayal. It's a quirky comic-drama with fantasy elements such as light bulbs appearing above Clarence's head when he has an idea and various characters floating when they puff on a hookah. The miracles of Jesus we do see are significantly differently to how they happen in the Bible. [Spoilers - select text to read] One happens when a woman, is being stoned and Jesus stops the rocks in mid-air, with a healthy nod to the Matrix. Another, which is shown somewhat misleadingly in the trailer sees him enable Clarence to walk on water. [End of spoilers]. Nevertheless it's clear that Jesus (Nicholas Pinnock) is not a fake messiah, he's the real deal, preaching an important message and walking the walk. He even stands up to the Romans.

Jesus' parents
While still hoping to learn how Jesus is faking his miracles Clarence visits Jesus parents, making this one of the few films that show both Mary and Joseph at the end of his life. Interestingly one of the few other films to do this is another Black Jesus film, Color of the Cross (2006). This is perhaps my favourite scene in the film. Alfre Woodard's portrayal of Mary is possibly my favourite of Jesus' mother, certainly once her son has become an adult. It's sympathetic, warm and wise, while also capturing a credible mother-adult son dynamic that few takes on Mary and Jesus seem to manage. She loves him, and so lets him lead his life without feeling encroaching too far into his work.

Joseph's role (Brian Bovell) plays against that of Mary, interjecting every so often with a cutting contempt for Clarence and his cronies contrasting Mary's compassionate outlook. He gets the film's best lines: "If you were a tool in my carpenter's box, you wouldn't be the sharpest" he sighs as Clarence struggles to grasp that their son is not faking. They even tell him the story (found in both the non-canonical Infancy Gospel of Thomas and the Qu'ran) of Jesus making a clay bird come alive.

Turning it around
All of this forms a key part of Samuel's journey to becoming a better person. Yet it's certainly not just Jesus and his parents who push him in this direction. Clarence is also besotted by Jedediah's sister Varinia, who, disliking Clarence's scheme, urges him towards living a more selfless life. As Peter Chattaway has pointed out, in the 1960s version of Spartacus, Varinia is the name of Jean Simmons character.⁴ It's perhaps not surprising, then, that soon Clarence finds himself using his ill-gotten wealth not to save his own hide, but to buy freedom for all the other gladiator-slaves. 

Sadly, it's just as Clarence decides to come clean. This does raise a few questions which the film rather skips over. While buying back the slaves is a good and selfless act, that might not be how those he  tricked into giving him their money see it. Secondly gang boss, Jedediah has a remarkably low key change of heart, but then that is perhaps due to the fact that just as Clarence is about to confess that he's not the messiah (just a very naughty boy), then Romans begin tracking down the city's various messiahs.

Questions of race
For all the film's humour it nevertheless wants to take on more serious issues too around race, religion and society. As noted above there's a clear dividing line between the Black Jews and the White Romans. Firstly this reinforces, more clearly than any other film, the fact that the Romans and the Jews were different races and both viewed the other as inferior (though this was not primarily about race as such). Part of the reason for this clarity is the almost complete lack of priests, Pharisees, teachers of the law etc. There's a brief tracking shot of a party of (Black) men dressed similarly to Pharisees and priests in other Jesus films, but that's it. It's the Romans that are hunting down messiahs and who execute Clarence and while Jesus' death is still three days in the future, there's not even a shadow of a doubt it will be down to Roman initiative. And given the genre's tendency towards reinforcing antisemitic tropes of the past blaming the Jews for Jesus' death, it's very welcome to see a film steer clear of that so deftly.

Secondly, before that final part of the film we've already witnessed how patrols of Roman soldiers casually interrogate Clarence and his friends, and indeed Jesus, on the flimsiest of premises. Biblical epics have always been as much about the present as about the past and it's easy to draw parallels between these scenes and the numerous videos of White police officers harassing Black people on the similarly flimsy grounds. 

The only real exception to the Black Jews / White Romans racial divide is Benedict Cumberbatch's minor role playing someone homeless. There's an extreme close-up of Cumberbatch shortly after the credits clad in grime so thick it's impossible to tell if this is just dirt, or meant to represent some critique of black-face performances. Cumberbatch role stays around the peripheries until [Spoilers - select text to read it] Clarence gives him the money to get a proper wash. When he emerges the salon staff put him in a white robe and now his hair is unmatted and his skin clean and white suddenly we, and the salon staff realise he now looks like Jesus. Suddenly everyone forgets that Jesus walks among them and starts bowing and praising this White saviour. This seems like a bit of a dig about how we have so readily accepted a fake White Jesus (even though we know that is historically inaccurate) even though we know the real Jesus was a person of colour.

This becomes particularly interesting during the latter stages of the crucifixion where Samuel repeats a long shot from Gibson's The Passion of the Christ, taken behind the cross with Matera in the background. While it's Clarence, not Jesus that's the focus of this shot, nevertheless it feels like it's echoing to Black members of the audience the experience White people had watching The Passion. Meanwhile to White people its a reminder that Black people matter just as much and stand shoulder to shoulder in contexts such as this.[End of spoilers]

The Book of Samuel
This is undoubtedly a film that White and Black people will view differently. It's also a film that will resonate differently for those with some kind of faith and those without it. While there are some cursory similarities with Life of Brian, they are two quite different films. In Brian, the humour became more pointed as the film wore on. Here it's almost the opposite. Clarence ends on a more positive note, one that recognises the possibility and importance of change and self-sacrifice. And it does this without being overly saccharin or giving simplistic answers, not least the ambiguity of the final scene which will fuel discussions after the credits have rolled. 

It's incredibly difficult to do anything in this genre that feels genuinely innovative. Yet The Book of Clarence does that. Not for its use of a Black Jesus surrounded by Black followers, films such as Color of the Cross and Jezile (both 2006) and the TV series Black Jesus (2014-9) have already done that, but as much for its social critique and the way its humour is not generated solely by cynicism. It's not perfect, by any means. Some gags don't quite land and some will struggle with the changes in tone, but nevertheless it's well worth watching, even for those who dislike traditional biblical epics. And for fans of biblical movies or of Samuel's work, it's a must see.

Indeed, this is clearly a hugely personal film for Samuel. The musician turned director has been mulling this film over since 2003/04 and it shows. My hunch is that in a few years time when he has a string of movies behind him, this will be the one that his fans come back to as best encapsulating his themes and outlook.

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1 - Kelley, Sonaiya (2022) "How ‘The Harder They Fall’ corrects Hollywood’s historical record of Black cowboys", Los Angeles Times, Nov. 3. Available online – https://www.latimes.com/entertainment-arts/movies/story/2021-11-03/harder-they-fall-netflix-jeymes-samuel 

2 - There's one notable exception , but it comes I won't spoil the 

3 - Quote from pre-screening introduction by Jeymes Samuel at the Southbank Centre, Royal Festival Hall, 12th October 2023. Words transcribed by me at the time without the chance to play them back so may contain minor errors. I believe Samuel may have misspoke and said 3000 years rather than 2000 years, but as I wasn't certain that was exactly what he said and so as it was clearly his intention I have put 2000 above.

4 - I was reminded of this connection by Peter Chattaway in this post on his Substack – https://petertchattaway.substack.com/p/the-book-of-clarence-the-world-premiere

Film as an Expression of Spirituality: The Arts and Faith Top 100 Films

Film as an Expression of Spirituality:
The Arts and Faith Top 100 Films
Edited by Kenneth R. Morefield

Cambridge Scholars Publishing
242 pages - Hardback
ISBN 978-1527550841
Publication Date: 02/10/2023

I've just had a chapter published in this new book which brings together a series of essay on some of the films in the Arts and Faith top 100 lists."Film as an Expression of Spirituality: The Arts and Faith Top 100 Films" features essays by 12 authors some of whom I met on the A&F site over 20 years ago. I was a regular contributor to the forum for a number of years and it was there I met a number of inspiring writers on film including Jeffrey Overstreet and Steven D. Greydanus. Both have been very generous to me over the years and I have learned an enormous amount from them both. So I'm really pleased they both have essays in here. And it's nice for something so permanent to have emerged eventually from all that went into that site.

My essay is on Pasolini's Il Vangelo secondo Matteo (The Gospel According to Matthew, 1964) and despite studying it and discussing it for all these years I don't think I've ever struggled with writing something as much as I did here. I'm grateful to editor Ken Morefield (whom I also met at A&F) whose support and flexibility got me through.

It's currently available online via the Cambridge Scholars website where there's a healthy sample available to download as well as a little more information. I've posted a list of the contributions below which hopefully gives you a sense of the films covered. It's priced with libraries in mind, so if you'd like to read it, then perhaps you could encourage yours to get a copy. 

If you want to find out more about the various iterations of the The Arts and Faith Top 100 Spiritually Significant Films then Ken has put together a great website that brings things together nicely.

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1. Carl Theodor Dreyer and the Problem of Christian Realism – Kenneth R. Morefield
2. Loving Someone in Darkness: The Silence and Voice of God in the Arts & Faith Top 100 Films –Brian Duignan
3. Love, Lust, and L’Avventura – Domenic Cregan
4. Il Vangelo secondo Matteo – Matthew Page
5. Beyond the Infinite: The Transcendent Vision and Religious Forms of 2001: A Space Odyssey – Aren Bergstrom
6. Empire and Incarnation in The Mission and Of Gods and Men – Benjamin Sammons
7. Reverse Rumspringa: Peter Weir’s Witness as “Cultural Kamikaze – Will Underland and Jency Wilson
8. A Sacrifice of Praise – Evan Cogswell
9. Right and Wrong?: Binary Opposition in Do The Right Thing – Douglas C. MacLeod, Jr.
10. To Love and Be Loved in Return: Thirty Years of Discovering Kieślowski’s Blue – Jeffrey Overstreet
11. Faith, Reason, and Interpretation: Belief and Doubt in The Song of Bernadette and Lourdes –Steven D. Greydanus
12. Put on the Full Armor of God: Faith and Radicalism in First Reformed – Matthew Spencer

Giudetta e Oloferne [Head of a Tyrant], (Fernando Cerchio, 1959)

Not sure why it's taken me so long to watch and review this one before. I've written quite a lot about Judith films and this is, I think, the longest cinematic adaptation of the deuterocanonical book. And while it's known as Head of A Tyrant in the English speaking world, it's an Italian peplum film shot just after the genre exploded with the release of Le Fatiche di Ercole (Hercules, Pietro Francisci, 1958).

Judith is played by French actor Isabelle Corey who had starred in both Bob le Flambleur and ...And God Created Woman within a few months of one another in 1956. Opposite her Oloferne is played by Massimo Girotti who was still almost a decade away from his most famous performance as the dad in Pasolini's Teorema (Theorem, 1968) screaming into the deserted landscapes of Mount Etna. 

It's unusual for a peplum film to rest quite so heavily on its performances, and Corey and Girotto do a good enough job of portraying the tensions both of them feel. On the one hand they feel inextricably pulled towards the other, but she is torn between her love of him and the love of her people, he on the other hand knows she might be trouble but chooses to let her into his heart regardless. 

The plot deviates a little from the story in the Book of Judith. The Assyrians come seeking to make the Israelites surrender. I like the way the town elders aren't really sure why they're being attacked. That seems to fit with the over-the-topness of Nebuchadnezzar's reaction in the text. Despite the reasonableness of the appeal for surrender,some refuse to accept their gods and there are a few who fire a few arrows towards Holophernes which creates conflict.The Bethulians are ordered to give up the would-be assassins or else they will be destroyed. But rather than besieging the town the Assyrians seem to move in. There's no camping at any rate. One other deviation is that Judith's servant, while an active character in the film, does not accompany Judith there.

The portrayal of Judith is interesting. In the book she's a beautiful widow and both elements seem to have some bearing on the story. I don't recall if anyone mentions that she is a widow. Instead there's much more emphasis on her being a daughter and sister than on being a widow. Her youthful attractiveness is only emphasised when she ingratiates herself into Holophernes' inner court by performing a sexy Salomé-esque dance. 

 

Of course the most famous film version of this story is the 1914 one by D.W. Griffith and this is a very different beast. obviously this adaptation is in colour and with sound, not to mention that for modern audiences the quality of the available print is is far greater here. Yet something else feels very different aside from all that. It's campier, for sure. The shortness of the soldiers skirts confirm that. But perhaps it's because director Fernando Cerchio trusts his material a little more, as if knowing that the possibility of violence creates a more engaging experience than the before and after battle scenes in Griffith's film.

Cerchio puts that colour to good use, particularly the greens and reds in the interiors which complements the costumes. It reflects both the opposition between Judith and Holophernes, but also their similarities, and that a little of each is found in the other. Yet the gaudiness of these tones, particularly in combination, are also unsettling, putting us ill at ease. There's a slight In a Lonely Place vibe here: the chemistry, the tension between conflicting passions, or between head and heart. 

Here, though, things are different. Holophernes decides time is up for Judith's people. His costume changes to predominantly black as he hopes to force the citizens to surrender the guilty men. Hers is pure red with both the connotations of sexiness and blood. The physical gap between the two widens. Holophernes starts to feel justified in his decision and then he says "Sometimes we have to do things in spite of ourselves that we wish we didn't have to do" and his spell over Judith is broken.

The beheading scene is particularly good. The sword almost calling out to her like Macbeth's dagger via a quick zoom. Her pose (above) as she hesitates just for a moment before striking, almost as if wishing he would wake-up and stop her. One more notable moment remains as Judith emerges from the building, shot from behind, and holds aloft Holophernes' head, motionless. A lesser director might have strung out the final battle scene here, but her it's rather half-hearted. The decisive blow has already been struck.