Review: ‘The King of Kings’

Tremendous is The King of Kings - tremendous in its lesson, in the daring of its picturization for a commercial theatre and tremendous in its biggest scene, the Crucifixion of Christ.

Tremendous is The King of Kings – tremendous in its lesson, in the daring of its picturization for a commercial theatre and tremendous in its biggest scene, the Crucifixion of Christ.

Technicolor is employed in two sections of the 14 reels, at its commencement and near the finish.

In scenes such as the Last Supper, the seduction of Judas by the Romans to betray The Christ, the healing miracles, the driving out of the evil spirits from Mary or the carrying of the Cross by Jesus (one of the most excellent in execution after the Crucifixion of the picture), there is a naturalnes that is entrancing.

And the acting is no less. The Schildkrauts (father and son), after H.B. Warner, come first to attention, the father as Caiaphas, the High Priest of Israel, and the younger as Judas, the traitor. And again no less is Ernest Torrence as Peter, Robert Edeson as Matthew, and perhaps others likewise of the Twelve Disciples, whose desertion of Jesus is brought out pathetically, almost, while His reappearance amidst them after the resurrection is an inner thrill.

The King of Kings

Production

DeMille/PDC. Director Cecil B. DeMille; Producer Cecil B. DeMille; Screenplay Jeanie Macpherson; Camera Peverell Marley; Editor Anne Bauchens, Harold McLernon; Art Director Mitchell Leisen, Anton Grot

Crew

Silent. (Color) Available on VHS. Extract of a review from 1927. Running time: 155 MIN.

With

H.B. Warner Dorothy Cumming Ernest Torrence Joseph Schildkraut James Neill Jacqueline Logan
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