Barabbas

Rating:
Summary: THE GIFT OF LIFE
Review: The late Anthony Quinn delivers a powerful, understated performance as the title character in "BARABBAS." Released on DVD with no fanfare, perhaps because of the overtly Christian theme, this crisp widescreen transfer does justice to an overlooked epic that came on the heels of "Ben Hur," a much bigger budgeted production that also dealt with a provocative spiritual story (a hate-filled Jew on the road to revenge stumbles across the Christ).

Based on Nobel Prize winner Par Lagervist's acclaimed novel, the story is a fictional look at the real historical figure who was released when the angry, blood thirsty Jerusalem mob responds to Pilate's offer to free either Barabbas or Jesus. The metaphor of Jesus dying for all is made real in the life of the one literal man He replaced on the cross. A daring idea that becomes fully realized in Christopher ("Ben Hur") Fry's thoughtful screenplay as directed by Richard Fleischer.

In many ways, this material was rehashed in "Gladiator" but without the Christian motif (the hints of Christians dying in the arena by Rome's edict were filmed but left on the cutting room floor).

Quinn's Barabbas is a troubled brute who is haunted by his undeserved gift of life and freedom and especially the resulting notoriety. His journey of faith and the discovery of his own worth is arguably as profound and poetic as his great Zorba interpretation.

The arena scenes with a gleefully sadistic Jack Palance are as good as anything in "Gladiator." No extras but the movie, digitally remasterd in Hi Definition, stands on its own.

Rating:
Summary: Fine character study....
Review: This is a fine character study and classic portrayal by Anthony Quinn from the Pulitzer Prize winning novellete. What sets this one apart from the other Biblical films of the 50's and early 60's is its lack of "epic" proportions; that is, there are not the usual 50 familiar faces playing a variety of supporting roles. You've got Quinn as the principle, Arthur Kennedy as Pilate (brief), Ernie Borginine (brief), Jack Palance in another evil turn, and filled out by mostly fine Italian character actors. As a Christian, I'm always amazed at how this film reaches me on a spiritual level with each viewing; The soundtrack is innovative and quite extraordinary. A definite thumbs up.

Rating:
Summary: They Gave Us Barabas
Review: This is a great fictional film of inspiration about a biblical character that truly little is known. Anthony Quinn gives a restrained performance. He seems to totally misunderstand the meaning of his vast experiences but his good natured spirit seems to guarantee his spiritual salvation. This film demonstrates man's ability for infinite cruelty toward his own species. Quinn's performance gives witness to all these events of horror through the eyes and mind of a child yet he understands the true meaning of right and wrong. Ultimately in the end, Quinn must pay for his worldly transgressions. This is a rare and thought provoking film.


Rating:
Summary: Richard Fleischer's Barabbas
Review: This is not your father's uplifting wishy-washy Biblical epic. This is a violent, dark, and sometimes depressing story that is quite a change from many religious films.

Based on a novel, 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 back to the world he knows- crime and carousing. His favorite prostitute Rachel, however, has become a Christian and is later stoned for it. Barabbas is not just an observer, he sees Jesus go to the crucifixion, and later finds Rachel at the open grave. Barabbas goes back to his old gang of thieves, murders the new leaders, and they rob 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 near death years before, and he sees the sacrifice Jesus made not just for him, but for all of us.

Barabbas and Sahak survive a cave-in at the mine, and are taken to Rome as good 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 make contact with a Christian servant, Ernest Borgnine in a small but good 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.

Just under two and a half hours, there are a few slow spots. The cast is excellent, however, and Fleischer does an impressive job with a cast of thousands. No CGI to rely on here, Fleischer uses his assorted set 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 own as highlights in early 1960's film making, when the cinema was hotly competing with television to win viewers back. 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, just 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 dark and very different. Barabbas is a man torn between his heathen upbringing, and what he knows is right through what he has witnessed in Jerusalem and Rome, no matter how much he denies what he has seen.

Produced by Dino DeLaurentiis in Italy, this film has a European feel that makes it different and lends a certain credibility to the proceedings. The Oscar heavy cast does not fall 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 think "Gladiator" is the only decent sword and sandals epic out there.

Although not rated, this does contain strong physical violence, some sexual violence, gore, and some adult situations.

Rating:
Summary: Thoroughly enjoyable epic with a lackluster transfer
Review: This would have to rate as one of the better Biblical epics, especially once one gets past the rather slow beginning. My only complaint at all would be with the DVD. This isn't to say that the movie was transferred poorly, but rather that the source film had seen its better days. While NOT riddled with dirt or grain, there are portions of the film which appear extremely washed out or faded...rather like a picture that has been sitting in the sun too long. It is not a consistent problem, as some scenes look spectacular.

Overall, I'd say Columbia needs to do a little restoration and re-release this film. However, given it's rather obscure status, I'm doubting this will ever be done. So get this one, and enjoy.

Rating:
Summary: I'd like to give it three and a half stars!
Review: Though it doesn't rank there with the like of "Ben-Hur," "The Ten Commandments," "The Robe," or even "The Greatest Story Ever Told" as one of the best Biblical epics, "Barabbas" does have its merits. The direction is crisp and the combination cinematography and set design does transport one back to those fateful days before and following the Crucifixion.

And, besides that, the movie features three of Hollywood's most testosterone-heavy stars: Anthony Quinn, Jack Palance, and Ernest Borgnine. Quinn, as the man that must live with the fact that his life was spared as a result of the death of the Messiah, balances his guilt/shame with the inborn need of self-preservation. Palance gets to chew the scenery as a merciless gladiator that meets his match in Quinn's Barabbas.

And Borgnine plays against type by being much reserved in his role of one of Christ's followers. He still has those piercing eyes that suggest that he can still kick your [...] if you disagree with him.