The story about the thief who didn't get crucified because Jesus was choosen to take his place.

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(novel), (dialogue) | 1 more credit »
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Cast

Cast overview, first billed only:
...
Inge Wærn ...
Hare-lipped
Olof Widgren ...
Sahak - Slave on Cyprus
Erik Strandmark ...
Anders Henrikson ...
Roman Procurator on Cyprus
...
Leper at Death Valley
Georg Årlin ...
...
Slave at Mill on Cyprus
Hugo Björne ...
Leper at Death Valley
Olof Sandborg ...
Prosecutor at Temple
...
Thief
...
Boy
Åke Fridell ...
Eliahu, Robber, Barabbas' Father
...
Member of Barabbas' Gang
...
Armful Watchman at Rome
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Storyline

The story about the thief who didn't get crucified because Jesus was choosen to take his place.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Language:

Release Date:

5 May 1953 (Sweden)  »

Also Known As:

Barabasz  »

Filming Locations:

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Box Office

Budget:

SEK 1,000,000 (estimated)
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Company Credits

Production Co:

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Runtime:

(original release) | (theatrical) | (final)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Connections

Version of Barabbas (2012) See more »

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User Reviews

Major Swedish production.
4 November 2005 | by (Australia) – See all my reviews

Apparently suppressed to legitimized the De Laurentis-Anthony Quinn movie drawn from the same Pär Lagerkvist novel, this Swedish master piece comes in a run of outstanding films which made Sjöberg one of the great film makers. Unfortunately, like contemporaries Pietro Germi or Helmut Kaütner his work was not highlighted by critics (which tells you something about the process) and Sjöberg was totally overshadowed by Ingmar Bergman, with whom his career was interlaced. Bergman wrote some of the Sjöberg films. They later alternated National Theatre productions.

BARABBAS is one of Sjöberg's best and most daring productions. Though realized on a small scale, it manages to get through all the extreme material of the Biblical spectacles of the day - violent sex, lepers, the killing of the prosecutor while the woman is stoned, messy crucifixions. It has a realism in it's costuming and staging (the brothel sequence is particularly savage) and great performances - notably by Palme, the director's regular leading man.

With this, the film puts forward a complex argument, centering on the simple minded thief's trying to comprehend Christ, along with a striking structure where light changes indicated passing of time and the same shot represents different occasions.

Two great cameramen contribute.


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