Barabbas

I've often wondered at times from a literary as well as religious point of view what happens to some of the peripheral cast of characters in the Scripture. I'm sure that's a question that more than a few have pondered on, whether they are believers or not.

Case in point is Barabbas. All we know about him is that he was the guy that the mob shouted for when offered a choice between pardoning him or Jesus of Nazareth. Some tradition has him as a common bandit, others have him as a rebel against Rome.

As played by Anthony Quinn, Barabbas is a troubled soul. As the message of Jesus of Nazareth spreads, Barabbas is unsure of what his role is. He's realized he's been a participant in something historic to say the least. But people treat him differently. The early Christians view him with some resentment. To Pontius Pilate, played by Arthur Kennedy, Barabbas is still a no good bandit. Of course Barabbas gets himself arrested again and begins his odyssey.

The movie is an adaption of a novel by Swedish Pulitzer Prize Winning writer Par Lagerkvist and a Swedish film adaption had already been filmed prior to this international cast epic. Might be interesting to view it side by side with this one. I'm sure the Swedish film didn't have half the budget this one did.

The movie fuzzes certain issues as films of this type generally do. Pacifism is a tenet of the early Christian faith of those hiding in the catacombs. Turning the other cheek is a big thing. But Anthony Quinn isn't a Christian so his modus operandi isn't exactly turning the other cheek.

Some top flight professionals are in this cast. The aforementioned Arthur Kennedy as Pilate, Silvana Mangano as Barabbas's girl friend who becomes an early convert, Vittorio Gassman as Sahek who is Barabbas's martyred Christian friend and most of all Jack Palance in a scene stealing performance as the top gladiator in Rome. You should watch this film for him alone.

The message the film tries to convey is that Barabbas in and of himself wasn't important. Jesus's life and death were pre-ordained and it could have been Barabbas or any of hundreds of others who could have been where he was.

But the way certain folks enter into biblical stories does give writers a whole lot of license to construct wholly fictional lives around them. This is as good a film as any for that purpose.

Pontius Pilate asks the people of Jerusalem whom they want freed, Jesus Of Nazareth or Barrabas?, the former has been tagged as a King of the Jewish people, the latter a thief and a murderer, they choose Barrabas.

This is a pure work of fiction based around the 1950 Pär Lagerkvist novel of the same name. It has basically taken a passage in the New Testament and extended it to ask what became of the man who was freed instead of Christ? We open of course with the people choosing Barrabas, and the subsequent Crucifixion of Christ that is now scripture legend. This event doesn't at first seem to bother Barrabas, but as the story progresses it becomes clear that he himself has his own cross to bear. We follow him as he witnesses a barbaric stoning of someone close to him, this turns him bitter and a return to a life of crime is his only response. Once again arrested, he is sent to work in the sulphur mines, here he ages fast and hangs on desperately to his life and sanity. He forms a friendship with a fellow inmate and after both men get sent to gladiator school, he finds that the faith surrounding Christ looms large and bright in his life story.

Richard Fleischer directs, producer is Dino De Laurentus, Anthony Quinn takes the role of Barrabas, and Jack Palance and Ernest Borgnine add weight to the acting roll call. There is some very good work to be sampled here, Quinn manages to put a bit of sincerity into the lead role; for as Barrabas' perspective alters, Quinn convinces with a nice show of depth. Palance is decently nasty as Torvald, and although Ernest Borgnine is wasted as Lucius, he does however leave a very decent impression due to a good show of acting restraint. There are some lovely shots here as well, particularly around the sulphur mines sequences, whilst both the sets and costumes are suitably on the money.

Barrabas is a film that is rarely mentioned when talk of biblical epics arises, and the small amount of user comments here suggests it's largely forgotten. That's a shame because it holds up considerably better than the likes of The Robe. 7/10

Barabbas (Anthony Quinn) , a thief and killer , is set free by Pontius Pilatus (Arthur Kennedy) in place of Jesus who is condemned to die crucified . Then , Barabbas suffering living anguish by this deed for the rest of his existence . But again he's detained and sent to horrible sulfur mines in Sicily , including terrible work conditions ; there he meets a kind Christian named Sahak (Vittorio Gassman) . Later on , he is brought to a school of gladiators run by cruel Torvald (a sadistic Jack Palance) . In Rome Barabbas meets other Christians (Ernest Borgnine) and Saint Peter (Harry Andrews) .

This epic film contains spectacular scenarios , lavish production and terrific performances . Second movie version of the renowned story based on popular novel by Lagerkvist (Nobel's prize) and previously adapted (1952) in Sweden by Alf Sjoberg . Interesting screenplay by Christopher Fry (who wrote ¨The Bible¨ by John Huston also produced by Dino De Laurentiis) . Top-notch performance by Anthony Quinn , he plays like his previous characters , a Zorba style, adding a little of Quaimodo , though sometimes overacting . Jesus is played by Roy Mangano , brother of Silvana Mangano , Laurentiis's wife . Extraordinary support cast , including prestigious players such as Arthur Kennedy , Katy Jurado , Ernest Borgnine , Arnaldo Foa , Norman Wooland , Douglas Fowley and even Sharon Tate was an extra in the amphitheater scene .

The overwhelming circus scenes were shot in the arena of Verona . Impressive sets produced in high budget , such as the scenarios of the mines and the Roman circus . Magnificently climatic gladiators fights , featured by hundreds of extras and stunning effects . The breathtaking gladiator combats is still one of the best screen fights today , along with ¨Gladiator¨ by Ridley Scott . The Golgota crucifixion scenes were actually shot in a sun eclipse and filmed in Niza . In fact , the solar eclipse that takes place during the crucifixion scene was the real thing, an event for which director Richard Fleischer delayed shooting in order to capture the ethereal nature of the phenomenon . Problems lingered on the set and at a cost of over ten million of dollars , it was one of the most expensive pictures of its time and took long time to finish . Colorful cinematography by Aldo Tonti and evocative musical score by Mario Nascimbene . Firstly , the producer De Laurentiis thought in charge direction to Federico Fellini , though he appointed to Richard Fleischer who realizes a quality film-making .

Who cannot resist seeing a film with a cast like Anthony Quinn, Jack Palance, Ernest Borgnine and Harry Andrews? The cast and my general interest in biblical epic films were my reasons for seeing Barabbas. It's imperfect and could have been better, but there are also a lot of fantastic things. And when it comes to biblical epics, while not definitive or masterpiece status Barabbas is towards the better end of the spectrum.

Barabbas is very grand in scale visually. The sets and costumes are very lavish, the use of amber-orange gives the film a very soothing look and there's some truly breath-taking cinematography. The music score is incredibly powerful and the very meaning of stirringly epic. Also in terms of how it's orchestrated and recorded it's quite innovative with its experimental sounds. The script has its foibles but is a vast majority of the time intelligent and thoughtful, Richard Fleischer directs with a fine sense of period and an understanding to using the action and set pieces to their fullest potential and the story has many compelling moments. Especially true to this are the crucifixion set against a real eclipse of the fun, easily the most striking image of the film, and the climax in the arena, which is the most dramatically compelling and entertaining Barabbas gets.

Rachel's stoning(a heart-wrenching moment), the burning of Rome and the sulphur mines collapse are equally unforgettable scenes. The action is very exciting, so much so that it outweighs the film's dull stretches, and emotionally Barabbas is genuinely heartfelt and sincere. The cast is a uniformly talented one and all performances(despite the characters varying in how well-written they are) range from solid to great. Anthony Quinn portrays titular character Barabbas as a tortured, guilt-ridden soul and portrays this very movingly and with a great deal of intimacy. Not many actors succeed in bringing humanity to a criminal but Quinn manages to do that. Of the supporting cast, the standout is Jack Palance, whose performance as the snarling villain Torvald is an evil-incarnate powerhouse.

The film is let down chiefly by its pacing however. Not all of the time, mind, but the first half in particular is very stodgily paced and not always very eventful before properly coming to life in the stoning scene. There are a lot of references to Jesus which were dealt with rather heavy-handedly at times, some speeches ramble on a little too much and lose flow. 137 minutes is actually reasonably short compared to other biblical epics, but because there are some very draggy and not so eventful parts Barabbas to me did feel a little overlong in places. Barabbas is hardly the first biblical/historical epic to have these problems though, and others have done them much worse this said, and I'm usually tolerant of slow pacing and long lengths dependent on the execution of everything else.

And while a lot is done right in Barabbas, other areas are patchy. Also as gently sincere and pretty Silvana Mongano is, she has very little to do in a particularly clichéd and thinly sketched role in a film where only Barabbas has any proper development. To the film's credit, the idea of people being brought up and living life in tumultuous times is portrayed with much riveting realism, so while development is sketchy it is easy to get emotionally engaged and empathise with what the characters are going through.

Overall, overlong, at times heavy-handed in the script and with its dull spots, but with the wonderful production values, powerful music score, emotional resonance, some visually striking and dramatically compelling scenes and strong acting Barabbas still manages to be a good film and one of the better biblical epics. 7/10 Bethany Cox

In one of the first scenes Barabbas steps out of his dark prison cell to find the peculiar glinting figure of the man who's going to take his place on the cross and rubbing his eyes says he's not used to the light.

So here we have both facets that make this interesting. It is, more so than Ben Hur and perhaps even Spartacus, less grand in the cinematic brushstroke but more troubled and honestly so about the spiritual picture it paints, more human.

It starts with what we know as a spiritual narrative, Pilates' trial of Jesus, but approaches it in the historic light. It follows only the last legs of that narrative from the crucifixion on but does so through Barabbas' questioning eyes. We assume divinity because it's that story but the body could have been stolen, the eclipse natural; it all might just be a story about god.

The spiritual question that looms is why doesn't god make himself plain? If this is a spiritual narrative as the newly devout insist throughout, why is it so hard to discern its truth?

Barabbas finds it hard to believe so returns to his banditry which opens up a cycle of sinking deeper into a life of meaningless toil and punishment, seen most clearly in the sulphur mines where each subsequent year the slaves are lowered to a deeper level as their eyes become accustomed to the dark, again eyes tied to light.

It isn't so just for him of course, Christians suffer next to him so what difference does it make, faith or god?

There's a scene where a Christian lectures gladiators that their pagan gods are fictions that will be sure to amuse modern viewers. But this was the powerful reality of early Christianity, the only time it truly mattered. Christians could point to a specific time and place where god appeared as part of history, I can only imagine the invigorating urgency. It had all become clear, linear. They did joyfully expect to see his return within their lifetime.

There is something powerful to be gleaned here; life isn't any better for the believers than Barabbas, the whole difference has nothing to do with the material facts, it's all about the light in which you choose to see. The tragic irony is that when Barabbas chooses to believe it is only out of guilt, a madness that is the fire he sets to things (this is during Nero's fire) that is his belief that the anticipated return would be fiery like this.

So forget that it's a religious spectacle we watch during Lent and carries that form, this is more erudite than usual and deserves to be seen next to Stromboli about the difficulties of faith.