Quo Vadis (Two-Disc Special Edition)

I checked this movie out of the library, watched it once, and immediately ordered my own copy. Like _All About Eve_, _Bringing Up Baby_, _Casablanca_ and _Double Indemnity_, this is a film I will be watching over and over. Excellent actors, consummate attention to historical detail, lavish sets, fine choreography and beautiful costuming all add to the viewing pleasure.Yes, you'll be watching a fabulous spectacle depicting the plight of early Christians during the reign of the Emperor Nero. But it is the script of _Quo Vadis_ that makes the film rank high in my list of perfect movies. Clever and multi-layered, the dialogue encourages us to explore our own attitudes towards madness, faith, and sense of duty by listening in on the conversations of such varied characters as the Apostles Peter and Paul, a cast-off mistress of Nero, a Roman Senator and a Greek soothsayer.But, ultimately, the lion's share (oops, couldn't help that little pun!) of the cast is involved in a discovery of what it is to love and be loved. We encounter a slave desperately in love with her indifferent master; an emperor who longs for the approval of his people, even while despising them; a young foreigner torn between her earthly love for a handsome Roman officer and her spiritual longing for the Word of God; a slave who will kill to protect his mistress even though he believes killing is a sin; and an advisor to the Emperor who finds that he must ultimately cast off his role of peacemaker and nursemaid to Nero if he is ever to gain self-respect.The dialogue is antique without being precious, literate without being pretentious. It does not feel at all self-conscious, as I have found to be the case with some costume dramas. It is not an impediment to enjoying the story; it is an enhancement.Even the most polished script, however, will flounder without actors of the proper calibre and everyone in the cast is more than equal to the task at hand. To my mind, however, Peter Ustinov's performance as the petulant, insecure, outrageous Emperor Nero is nothing short of astonishing. Alarmingly manic one moment, Nero segues into a most royal, self-pitying sulk in a couple of breaths. Ustinov makes it believable, portraying the Emperor as a spoiled and frightened child who can react one moment with pure instinct and, the next, justify inexcusable crimes with clever and convoluted argument.Nero, who rationalizes "a man's acts may be cruel when he himself is not cruel," will eventually burn Rome and kill scores of innocents in the arena. But throughout the first half of the movie, his worst tendencies are held in check by his friend and advisor Petronious, a nobleman who describes himself as "indestructible." Petronious, portrayed with masterful irony by Leo Genn, relies on his quick wits in order to stay alive and prosper in the reign of a madman, and takes a certain pride in his ability to keep Nero under control.Nero is always watching Petronius, seeing how he will react, trying to second-guess him. Petronius is the only person whose opinion Nero cares about, because he is the only one who is not a total sycophant. As a matter of fact, Petronius at times goes out of his way to say the total opposite of what would be politically expedient to say, then, amazingly, turn his comment around to prove that he is being loyal to Nero by being honest and plainspoken. For example, when Nero complains about how much he hates the people, that he wishes they had but a single head that he might chop it off, Petronius doesn't shame him or tell him he's crazy as a bedbug. That would hardly be effective. Instead, Petronius reminds Nero that the mob is necessary, for a ruler needs subjects and an artist needs an audience.Unfortunately for Rome, Nero has decided sing about a burning city, and he has come to the conclusion that he must experience the real thing in order to interpret it. Also unfortunately for Rome, Petronius, who has previously complained of never being able to discover "an honest warmth in any woman," has been surprised by the love of his beautiful slave Eunice and is therefore distracted. There is no-one to talk Nero down, no-one to turn his immediate impulses into something less destructive. And when the stunned Petronius hears the news that Rome is aflame, he comments ironically, "Now, indeed, Nero has his place in history."Indeed, Petronius is able to keep his sense of the ironic until he witnesses the terrified Romans fleeing in desperation into the hitherto forbidden neighbourhoods of the wealthy. Nero exclaims in disgust, "Is it possible that human beings can produce such a sound?""Yes," relies Petronius, doubtless speaking for himself as well as the terrified mob, "when they have been driven too far." And, when Nero eyes the nobleman askance, it is clear that Petronius has lost major brownie points by going too far himself. Sensing a hated rival's almost instantaneous loss of status, Nero's empress suggests that perhaps Petronius himself is one of the despised Christians. To Nero's point-blank question, Petronius responds levelly, "I am not. I have heard that the Christians teach you to love your neighbour. And, as I see what men are, I cannot for the life of me love my fellow men."After the destruction of Rome, Petronius finds it hard to harbour any affection even for himself. Ashamed that he did not address the frightened citizens and urge them to depose Nero, the Emperor's erstwhile advisor berates himself as nothing more than "an amused cynic, a selfish onlooker."But this amused cynic will ultimately redeem himself, by signing "with humility" a letter which is being sent to General Galba, asking him to return to Rome and depose Nero. Then Petronius calls for his servant Alexander, saying "I will give him the names of those few I love." Petronius has planned a banquet, "an evening of farewell." With his few true friends as witness, Petronius reads aloud a letter he has written to Nero, in which he advises in closing, "Brutalize the people, but do not bore them, as you have bored to death your friend, the late Gaius Petronius." His friends gasp. Petronius assures them, "it is not enough to live well; one must die well," adding, "The Christians say that death is but a transition to a better life. It will be interesting to discover." His physician has slit Petronius' wrist. He will die with honour, escaping execution at the hands of Nero, prompting one of his guests to eulogize, "With you perishes the best of our Roman world."When Nero hears of the death of his former friend, he dissolves in melodramatic weeping. Yet even in his grief, he must perform, shedding tears into his weeping vial (one for Petronius and one for himself) and wailing for his audience, "How I have loved you, Petronius." He opens the letter, eager to read the last words addressed to him by his departed friend. But, as he scans the insulting, honest words, Nero comes to hate Petronius and everything associated with him, including Petronius' nephew Marcus and the Christian girl he loves and, consequently launch what he gloatingly describes as "a spectacle of terror." Nero always has someone else to blame for his misdeeds.But the slaughter of the Christians brings no satisfaction to the Emperor. The Christians sing as they go to their slaughter, inspiring the reluctantly impressed Marcus to snap, "These people know how to die, Nero. You will squeal like a hog." Nero cannot understand how the Christians can sing as they are being killed. After the slaughter, he goes at night into the arena and is appalled to find that they are all smiling.All too soon, Marcus' predictions concerning Nero come true. The Empress has arranged for Ursus, the gigantic servant of Marcus' Lygia, to fight a fierce black bull. The mob turns ugly and the military revolts when the Emperor is foolish enough to give the thumbs-down to the victorious giant. Nero will meet his end dishonourably, and a new ruler will come to power, a sane one who has no need of either scapegoats or audiences.Satisfying from beginning to end, from the first viewing to the twentieth and beyond, _Quo Vadis_ is a treasure. And if you want to appreciate it (and films of its ilk) even more, check out Jon Solomon's _The Ancient World in the Cinema_.A bit of trivia from the web: While a Lieutenant-Colonel in the British Army, Leo Genn was one of the Prosecuting Officers at the British-mounted 1945 Belsen War Crimes trial. Belsen, like the other concentration camps was established to hold what were considered, by the Nazi regime, as undesirable people, ranging from Jews to relatives of famous German citizens who had fled overseas. Notable inmates of Belsen include Marlene Dietrich's sister and the Dutch Jewish girl Anne Frank. Genn was awarded the Croix de Guerre in 1945.

Item was delivered smoothly and without any damage. It came in pristine condition and in on time as stated.

Quo Vadis, filmed in Rome in 1951, is all spectacle with its 30,000 extras and costumes, lavish sets, and lots of real lions!If you like Epics like Ben Hur or DeMille's Ten Commandments you will probably enjoy this almost 3 hour extravaganza. This film holds the record of using the most costumes in one movie - 32,000. It was originally cast in 1949 with Elizabeth Taylor and Gregory Peck as the two romantic leads, but instead stars Deborah Kerr and Robert Taylor were finally cast in this 1951 film. Robert Taylor seems stiff and unnatural and his acting seems unfitted to the part. Ms. Kerr, however, must be complimented for her outstanding believability and acting in this movie. She plays Lygia, a devout Christian torn between her faith and the man (Vinicius) she comes to love.It is 64 A.D. and commander Marcus Vinicius returns to Rome with his legions after three years abroad waging battle for his emperor, Nero, a tyrant who believes he is a gifted divinity. While visiting the home of retired General Plautius, Vinicius flirts with a woman he assumes is a household slave, but soon discovers that she is Plautius' daughter Lygia, who rebuffs his crass advances. Vinicius' pursuit of her when she runs away to hide among her fellow Christians brings out the main plot of the film - the rise of Christianity during the reign of Nero.Peter Ustinov's usual magic touch seems to be playing Nero for laughs but as the film progresses, he deftly moves his character into a darker and more dangerous place - a psychopathic monster. All the stops were pulled out in the scenes where Nero burns Rome for the sake of his art. Ustinov's buffoonish character of Nero is sustained throughout the film, but with a surprisingly heightened emotional scene when Nero had to rely on his spurned lover Acte to help him commit suicide as the outraged Roman mob breaks into the palace to murder him.Of course there are great scenes in the coliseum with the Christians vs the Lions as the top billing. During filming apparently the picky cats thought the arena too hot and rushed back to their cool cages. It took meat stuffed costumes to get them out and mug for the camera in the arena.One of the great "Swords and Sandals" flicks that is often overlooked. It is a true 1950s classic. The color in this DVD version is brilliant and stunning, and is especially appreciated during the grand entrance of Vinicius and his legions into Rome. The sound is clean and very good for its 1950s pedigree. They just don't make films with this epic spread any more. All done with zero CGI but with real sets, and a cast of thousands.However, while the advert and folio credits boasted letter box format, mine was formatted to the small screen TV. I should have sent it back immediately for replacement. This epic DEMANDS the format of the "silver screen" not TV! An epic failure on my part. Be sure to read the fine print and be sure of the integrity of the seller. Return it if it is NOT in letter box!

The colours now pop, and when the trumpets blare — YOU KNOW IT! When I started watching DVD's I rarely listened to the commentaries. I had no interest in them. But now it's almost required listening. The commentary usually provides some backstory for the film. It answers questions you might have on how a shot was done, or where a particular sequence was filmed.Did you know Peter Ustinov was only 28 years old when he did this film, and Quo Vadis was his first film?Quo Vadis is eye-popping. Every frame was cleaned up. I found it pleasing to finally see a film the way the way it should be done. No CGI garbage, everything is real. And the sound is fantastic!Came on time, and in great shape.

Llegó en perfecto estado y antes de la fecha. El vendedor muy amable y pendiente en todo momento del envío. De la película no hay mucho que decir, es un PELICULÓN.

Capolavoro

Im Jahr 64 nach Christus kehrt der römische Kommandeur Marcus Vinicius mit seinen Truppen siegreich von Britannien nach Rom zurück. Vor den Toren der Stadt erreicht ihn der Befehl Kaiser Neros, sein Lager aufzuschlagen und zu warten. Marcus sieht das nicht ein, zumal seine Leute von den Strapazen erschöpft sind und nach Hause wollen. Er fährt allein mit seinem Wagen zum Kaiser. Er trifft ihn in einer Runde, in der Nero gerade ein von ihm selbst verfasstes Lied zum Besten gibt und Petronius, den „arbiter elegantiae“, den Fachmann in Geschmacksfragen, um sein Urteil bittet. Vom Kaiser erfährt Marcus nun den Grund der Verzögerung: dem Volk sollen „panem et circenses“, Brot und Spiele, geboten werden – dazu wäre ein späterer Einmarsch der Truppen genau das Richtige. Erst jetzt kann Petronius – er ist Marcus’ Onkel – seinen Neffen richtig begrüßen und ihn zum Übernachten in das Haus des Generals Plautius schicken. Dort begegnet er der lygischen Geisel Lygia, die von Plautius und seiner Frau als Tochter erzogen wurde. Er verliebt sich in Lygia und versucht, sie von Nero als Anerkennung für seine Siege geschenkt zu bekommen. Im Haus des Generals lernt er auch einen gewissen Paulus aus Tarsus kennen. Was Marcus noch nicht weiß, ist, dass Plautius, seine Familie und auch Lygia Anhänger der christlichen Religion sind.Marcus’ Einzug mit seinen Legionen wird zu einem prachtvollen Ereignis. Zum anschließenden Festgelage wird Lygia gewaltsam abgeholt; der Kaiser hat sie an Marcus verschenkt. Poppaea, Neros Frau, sieht das nicht gerne, denn sie hat selber ein Auge auf den schönen Offizier geworfen. Nach der Feier soll Lygia in das Haus des Petronius gebracht werden, kommt aber nie an. Ursus, ihr hünenhafter Beschützer, befreit sie und versteckt sie in der Gemeinde. Sie bleibt verschwunden. Marcus sucht sie und erfährt bei dem Griechen Chilo von den geheimen Treffen der Christen in den Katakomben. Mit ihm und dem Ringkämpfer Kroton geht auch Marcus dorthin und entdeckt sie schließlich unter den Anwesenden. Er will sie mit Gewalt mitnehmen, aber Ursus vereitelt das, schlägt Marcus nieder und tötet Kroton. Dann bringt Ursus den bewusstlosen Marcus in ein christliches Haus, wo dieser, unter anderem von Lygia, gesund gepflegt wird. Als er wieder zu sich kommt, gesteht ihm Lygia ihre Liebe. Marcus ist bereit, pro forma Lygias Glauben anzunehmen; dies lehnt Lygia jedoch entschieden ab, da er den christlichen Glauben noch nicht versteht und schon gar nicht danach lebt.Nero hat inzwischen die fixe Idee, das alte Rom um der Kunst willen zu verbrennen und an seine Stelle eine neue Stadt mit Namen „Neropolis“ aufbauen zu lassen. So geschieht es denn auch, Rom steht in Flammen und der geistesgestörte Kaiser singt dazu: „Flammen, verzehrt es, wie im Feuerofen!“ Die Bevölkerung hat kein Verständnis für die wahnwitzigen Vorstellungen ihres Herrschers und versucht den Palast zu stürmen. Nero wiederum, feige und voller Angst um sein Leben, braucht jemanden, dem er die Schuld an der Brandkatastrophe zuschieben kann. Poppaea schlägt die Christen als Schuldige vor. So wäre sie ihre Rivalin bei Marcus los und Nero gerettet. Der greift gern nach dem rettenden Strohhalm, und alsbald sind die Gefängnisse voll von Christen, unter ihnen auch Lygia. Marcus, inzwischen in Ungnade gefallen, wird ebenfalls gefasst und landet in derselben Zelle.Nach dem Brand hatte der Apostel Petrus Rom verlassen. Unterwegs jedoch erscheint ihm Jesus und Petrus spricht zu ihm: „Quo vadis domine?“ – „Wohin gehst Du, Herr?“ Jesus antwortet, er gehe nach Rom um sich ein zweites Mal kreuzigen zu lassen. Daran erkennt Petrus, dass er eigentlich bei seiner Gemeinde in Rom sein sollte, und kehrt um.Petronius hat inzwischen beschlossen, sich selbst umzubringen, um Nero zuvorzukommen. Er lädt seine besten Freunde ein und weiht sie ein. Vor ihren Augen lässt er sich von seinem Arzt die Pulsadern aufschneiden. Seine geliebte Sklavin Eunice nimmt das Messer und begeht aus Liebe zu ihm ebenfalls Selbstmord. Sterbend diktiert Petronius einen letzten Brief an Nero, in dem er mit dem Kaiser abrechnet mit der Bitte, er möge zwar weiterhin morden und zerstören, aber er solle aufhören zu singen, womit er Nero an seiner empfindlichsten Stelle trifft. Zuvor hat er dem römischen General Galba eine Botschaft geschickt mit der Bitte, Rom vom Tyrannen zu befreien.Im Amphitheater werden die Christen wilden Löwen vorgeworfen, gekreuzigt oder verbrannt. Auch der zurückgekehrte Petrus wird festgenommen. Für Lygia hat sich Poppaea etwas Besonderes ausgedacht: Sie wird an einem Pfahl festgebunden und ein wilder Stier wird auf sie losgelassen. Ursus soll sie verteidigen. Neben Poppaea an eine Säule gefesselt, muss Marcus das grausige Schauspiel von der Kaiserloge aus verfolgen. Und wieder ist Ursus der Retter: Er bezwingt den Bullen mit bloßen Händen und bricht ihm das Genick. Das Publikum tobt, es ist begeistert und fordert mit dem Ruf „Daumen hoch!“ Gnade für die beiden, auch zahlreiche Berater Neros. Doch dieser senkt den Daumen, obwohl er vorher noch gesagt hatte, dass er sie freiließe, würde Ursus den Bullen besiegen. Doch bevor seine Soldaten Lygia und Ursus töten können, stürmen plötzlich Marcus’ Soldaten die Arena. Marcus kann sich befreien und verkündet dem Volk, dass Nero der wahre Schuldige an dem Brand Roms ist. Nero und Poppaea flüchten in den Palast, die Heere des designierten Nachfolgers Neros Galba sind bereits auf dem Weg nach Rom. Während die Soldaten in Rom einmarschieren, erdrosselt Nero Poppaea, die er für alles verantwortlich macht, da sie ihm den Rat gab, die Christen als Sündenböcke zu missbrauchen und begeht anschließend mithilfe seiner ehemaligen Geliebten Acte Selbstmord. Marcus und Lygia aber, die im Gefängnis geheiratet haben, sind frei und ziehen nach Sizilien auf Marcus’ Landgut.

Livré à temps aussi. Grande qualité d'image. Le Roy n'est pas un grand réalisateur mais il assume le "Cahier des Charges" ! Scènes de foules somptueuses, grand sens du mouvement (sans doute réalisées par des "2e équipe" italiennes). Qu'importe, c'était la règle, les Américains ne parlant pas Italien. Le roman de Henryk Sienkiewicz est fort bien adapté. Comme chez De Mille, les Américains s'en tiennent au canevas, la profondeur manque un peu. De mon lointain souvenir d'adolescence, j'ai retrouvé le côté opulent du film. Robert Taylor, très beau assume bien son personnage. Deborah Kerr, bonne actrice, est toujours très fade malheureusement. Elle a la sensualité d'une savonnette de lavande anglaise ! En comparaison, la belle et glaciale Patricia Laffan est une remarquable Poppée d'une cruauté parfaite. L'Italienne Milly Vitale est belle, très sensuelle, sincèrement amoureuse de "L'Arbitre des Elégances" Fulvien Petrone. Leo Genn, remarquable comédien a un physique curieusement très latin, cheveux et regard noirs ! Sa prestation est impeccable. Reste le "Cas Ustinov" : il est excessif "à l'excès" ! Mais le rôle est démesuré ! (l'acteur aussi !). Est-il mauvais parce qu'il en a fait trop ou parce que le personnage est un cabot de bas étage ? Considérant la grande intelligence et l'immense culture de l'acteur (il parlait cinq langues à la perfection !), c'est peut-être voulu. Le scénario lui donne un rôle non écrit en profondeur et il doit faire avec ce qu'il a. Contrairement à Caligula, qui était réellement fou et épileptique, Néron n'était qu'un histrion de bas étage qui se regardait jouer. Tout était théâtral, au mauvais sens du terme en lui et Ustinov rend cela à merveille ! Acteur "cabot" ou "cabot" parce que le personnage l'est ? Toujours est-il qu'a la vision actuelle du film, il apparaît que l'on se fiche complètement des héros en titre et que seuls Néron, Poppée, Petrone, son esclave et les traîtres subalternes nous intéressent ! Le jeu volontairement outrancier d'Ustinov fascine. C'était l'époque de "L'Usine à Rêves" ! Hollywood y réussissait à merveille ! Les foules sont réellement nombreuses et non dupliquées à l'extrême par des effets numériques ! L'incendie de Rome et Néron jouant et chantant avec son luth, les cruels jeux du Cirque de la fin sont du très grand spectacle et l'excellence de la copie (comme "Samson et Dalila") nous permet de ne pas regretter que l'écran de télé ne soit pas celui du Rex ou de l'ex Gaumont-Palace ! Des films comme on n'en fait plus... Très content de la copie excellement dupliquée ,