IMDb > The Robe (1953)
The Robe
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The Robe (1953) More at IMDbPro »

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The Robe -- US Home Video Trailer from 20th Century Fox

Overview

User Rating:
6.8/10   5,037 votes »
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Director:
Writers (WGA):
Philip Dunne (screenplay) and
Gina Kaus (adaptation)
(more)
Contact:
View company contact information for The Robe on IMDbPro.
Release Date:
4 December 1953 (France) See more »
Genre:
Tagline:
The First Picture on the New Miracle Curved Screen ! See more »
Plot:
Marcellus is a tribune in the time of Christ. He is in charge of the group that is assigned to crucify Jesus... See more » | Add synopsis »
Awards:
Won 2 Oscars. Another 3 wins & 4 nominations See more »
NewsDesk:
(27 articles)
Following Anderson's Death, Only Two Gwtw Performers Still Living
 (From Alt Film Guide. 9 April 2014, 7:40 PM, PDT)

17 Days Til Oscar
 (From FilmExperience. 13 February 2014, 10:10 AM, PST)

Michael Ansara, Kang on ‘Star Trek,’ Dies at 91
 (From Variety - TV News. 2 August 2013, 4:36 PM, PDT)

User Reviews:
The Passion of the Robe See more (66 total) »

Cast

  (in credits order) (verified as complete)

Richard Burton ... Marcellus Gallio

Jean Simmons ... Diana

Victor Mature ... Demetrius

Michael Rennie ... Peter
Jay Robinson ... Caligula

Dean Jagger ... Justus
Torin Thatcher ... Sen. Gallio

Richard Boone ... Pontius Pilate
Betta St. John ... Miriam
Jeff Morrow ... Paulus

Ernest Thesiger ... Emperor Tiberius
Dawn Addams ... Junia

Leon Askin ... Abidor
rest of cast listed alphabetically:

Michael Ansara ... Judas (uncredited)
Jan Arvan ... Slave Dealer (uncredited)
Ben Astar ... Cleander (uncredited)
Helen Beverly ... Rebecca (uncredited)
Kit Carson ... Soldier (uncredited)
Albert Cavens ... Sword-Fighting Soldier (uncredited)
Fred Cavens ... Sword-Fighting Soldier (uncredited)
Jean Corbett ... Slave Girl (uncredited)
Joan Corbett ... Slave Girl (uncredited)
Noreen Corcoran ... Girl (uncredited)
Sally Corner ... Cornelia (uncredited)
Leo Curley ... Shalum (uncredited)

Frank DeKova ... Slave Dealer (uncredited)
Irene Demetrion ... (uncredited)
Van Des Autels ... Chamberlain (uncredited)

John Doucette ... Ship's Mate (uncredited)
Anthony Eustrel ... Sarpedo (uncredited)
Dan Ferniel ... Black Man (uncredited)
Bess Flowers ... Bystander at trial (uncredited)
Sam Gilman ... Ship's Captain (uncredited)
Roy Gordon ... Chamberlain (uncredited)
Michael Granger ... Slave Dealer (uncredited)
Percy Helton ... Caleb - Wine Merchant (uncredited)
Thomas Browne Henry ... Marius - Physician (uncredited)
Rosalind Ivan ... Julia (uncredited)
Richard Kean ... Slave Dealer (uncredited)
George Keymas ... Slave (uncredited)
Donald C. Klune ... Jesus (uncredited)
Nicolas Koster ... Jonathan (uncredited)
Virginia Lee ... (uncredited)
Virginia Ann Lee ... Specialty Dancer (uncredited)
David Leonard ... Marcipor (uncredited)
Alfred Linder ... Slave Dealer (uncredited)
Emmett Lynn ... Nathan (uncredited)
Christey Marlo ... Slave Girl (uncredited)

Mae Marsh ... Jerusalem Woman Aiding Demetrius (uncredited)
George Melford ... (uncredited)

Cameron Mitchell ... Jesus Christ (voice) (uncredited)
Eleanor Moore ... (uncredited)
Edward Mundy ... Peddler (uncredited)
Jay Novello ... Tiro (uncredited)
Arthur Page ... Reuben (uncredited)
Francis Pierlot ... Dodinius (uncredited)
Alex Pope ... Roman Officer (uncredited)
Guy Prescott ... Quintus - Tribune (uncredited)
Ford Rainey ... Ship's Captain (uncredited)
Peter Reynolds ... Lucius (uncredited)
Pamela Robinson ... Lucia (uncredited)
George Robotham ... Slave with Demetrius at Palm Procession (uncredited)

Hayden Rorke ... Caluus - Slave Auction Bidder (uncredited)
Gloria Saunders ... Slave Girl (uncredited)
Norbert Schiller ... Slave Dealer (uncredited)

Harry Shearer ... David (uncredited)
Marc Snegoff ... (uncredited)
Marc Snow ... Auctioneer (uncredited)
Murray Steckler ... Melas (uncredited)

George E. Stone ... Gracchus (uncredited)
Arthur Tovey ... Gladiator (uncredited)
Otto Waldis ... Slave Dealer (uncredited)
Gene Wesson ... Soldier (uncredited)
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Directed by
Henry Koster 
 
Writing credits
(WGA)
Philip Dunne (screenplay)

Gina Kaus (adaptation)

Lloyd C. Douglas (novel)

Albert Maltz  screenplay (originally uncredited)

Produced by
Frank Ross .... producer
 
Original Music by
Alfred Newman 
 
Cinematography by
Leon Shamroy (director of photography)
 
Film Editing by
Barbara McLean 
 
Art Direction by
George W. Davis 
Lyle R. Wheeler  (as Lyle Wheeler)
 
Set Decoration by
Paul S. Fox (set decorations)
Walter M. Scott (set decorations)
 
Costume Design by
Emile Santiago (uncredited)
 
Makeup Department
Ben Nye .... makeup artist
 
Production Management
Joseph C. Behm .... unit manager (uncredited)
 
Second Unit Director or Assistant Director
Tom Connors Jr. .... assistant director
Donald C. Klune .... second assistant director (uncredited)
 
Art Department
Gordon Butcher .... painter (uncredited)
Bill Harris .... painter (uncredited)
Bill Jekel .... painter (uncredited)
Eugene Kornman .... portrait photographer (uncredited)
Ken McClelland .... painter (uncredited)
Tony Reveles .... painter (uncredited)
Duncan Spencer .... painter (uncredited)
Clayton Thomason .... painter (uncredited)
Fred Tuch .... painter (uncredited)
William Tury .... painter (uncredited)
Delmer Yoakum .... painter (uncredited)
 
Sound Department
Bernard Freericks .... sound
Roger Heman Sr. .... sound (as Roger Heman)
Clyde Carruth .... sound editor (uncredited)
Walter Rossi .... sound editor (uncredited)
 
Special Effects by
James B. Gordon .... special effects (uncredited)
 
Visual Effects by
Ray Kellogg .... special photographic effects
Matthew Yuricich .... matte painter (uncredited)
 
Stunts
Fred Carson .... stunts (uncredited)
Albert Cavens .... stunts (uncredited)
Fred Cavens .... stunts (uncredited)
Tom Hennesy .... stunts (uncredited)
Nosher Powell .... stunts (uncredited)
George Robotham .... stunts (uncredited)
Danny Sands .... stunts (uncredited)
Bill White Jr. .... stunt double (uncredited)
 
Camera and Electrical Department
Lee Crawford .... assistant camera (uncredited)
John Florea .... still photographer (uncredited)
Sol Halperin .... camera department head (uncredited)
James Mitchell .... still photographer (uncredited)
Irving Rosenberg .... camera operator (uncredited)
Harvey L. Slocomb .... assistant camera (uncredited)
Clyde Taylor .... gaffer (uncredited)
 
Costume and Wardrobe Department
Charles Le Maire .... wardrobe director (as Charles LeMaire)
Adele Balkan .... set wardrobe supervisor (uncredited)
Sam Benson .... wardrobe (uncredited)
Dorothea Hulse .... weaver (uncredited)
Dorothy Lou Macready .... assistant weaver (uncredited)
Clinton Sandeen .... wardrobe manager: men (uncredited)
Jimmy Spies .... armor (uncredited)
Ed Wynigear .... wardrobe (uncredited)
 
Editorial Department
Lyman Hallowell .... assistant editor (uncredited)
 
Music Department
Edward B. Powell .... orchestrator
Ken Darby .... choral director (uncredited)
Carol Richards .... singing voice: Betta St.John (uncredited)
 
Transportation Department
James E. Ruman .... transportation chief (uncredited)
 
Other crew
Leonard Doss .... Technicolor color consultant
Albert Cavens .... fencing instructor (uncredited)
Fred Cavens .... fencing instructor (uncredited)
James Denton .... unit publicity manager (uncredited)
Stan Margulies .... unit publicist (uncredited)
Jack Muth .... research assistant: CinemaScope (uncredited)
Stephen Papich .... dance director (uncredited)
Jack Pennick .... technical advisor (uncredited)
Earl I. Sponable .... research director: CinemaScope (uncredited)
Allen Wise .... titles (uncredited)
Sonia Wolfson .... unit publicist (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
135 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.20 : 1 See more »
Sound Mix:
4-Track Stereo (Western Electric Recording) (CinemaScope version) | 70 mm 6-Track (70 mm prints) (re-release) | Mono (Academy ratio version)
Certification:
Argentina:Atp | Finland:S | Iceland:L | Portugal:M/12 | South Korea:All | South Korea:15 (DVD rating) (2002) | Sweden:15 | UK:U (passed with cuts) | UK:U (video rating) (1988) (1991) | USA:Unrated | USA:Approved (PCA #16441) | West Germany:12 (f)

Did You Know?

Trivia:
Richard Burton once said this was the least favorite of all his films. However in an October 1979 interview he named The Bramble Bush (1960) and Ice Palace (1960) as the worst films he had starred in.See more »
Goofs:
Anachronisms: The Emperor Tiberius' wife, Julia, puts in an appearance complaining about Diana being considered "too good for Caligula" and Tiberius mentions his "30 years with Julia". Actually, his wife, Julia, the daughter of his predecessor, the Emperor Augustus, had been permanently exiled by her father for lewd behavior long before Tiberius even became Emperor. By the time "The Robe" opens, in the last years of Tiberius' reign, Julia had been dead and forgotten for decades.See more »
Quotes:
Diana:[Marcellus has just been sentenced to execution; Diana leaves the podium to stand at his side] Sire, Marcellus is my chosen husband. I wish to go with him.
Caligula:Stand back! You're not on trial! There's no evidence against you!
Diana:Then if it please you, sire, I'll provide evidence. I have no wish to live another hour in an empire ruled by *you*! You dare to call yourself a Caesar. Once the Caesars of Rome were noble, but in you, noble blood has turned to poison. You corrupt Rome with your spite and malice.
Caligula:Stop! Stop it!
[...]
See more »
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6 out of 7 people found the following review useful.
The Passion of the Robe, 17 May 2006
Author: John Ruffle from London, England

The Robe (1953) is interesting on at least two counts: (1) the film takes its place as the first ever CinemaScope theatrical release and is therefore worthy of close study by all motion picture students; and (2) the film depicts the Passion of Christ, (as the inciting action that triggers the subsequent plot development), and as such, threads that part of the storyline with a genre stretching back over 1,000 years, where we find the first extant Passion Play scripts (other than the Gospel records themselves, of course). This again makes the film worthy of study by film students and theologians alike.

The story of Christ on film is more important historically than may at first might appear. At either two or three reels, the first ever full "feature film" is arguably claimed to be the "The Passion Play" (1898), filmed in New York in 1897. The 'greatest story ever told' has hit the screen regularly thereafter, perhaps most famously in recent years with Mel Gibson's masterly personal tribute, "The Passion of the Christ" (2004).

I will now comment briefly on some of the technical and visual aspects of "The Robe". The camera work majors on long shots, and it is interesting to analyse how each shot is framed for all that width of screen. The camera is mostly static, and shots have longer than average duration; the compositions really are not designed for a lot of movement. This gives the film that famous "epic" style that goes for the grand sweep, both visually, musically and emotionally. There is not a lot of internalisation within the characterisation - it is the (literal) width and scope of the production that grabs attention. The filmic style is not very personal, however. It really is as if we have the best seats in an outdoor drama on a massive stage.

As you view, you may wish to make a note of the shots that seem to work best to the modern viewer. In the early part of the film, for instance, (just before the "Passion" sequence), Demetrius runs toward the camera in search of Jesus, after he's been beaten down by the Roman guards outside the gates of Jerusalem. An old lady sitting behind him on the cobbled pathway, has just finished tending his wounds. The shot is terrific, and works for modern audiences very well. Unlike a lot of the film, where much of the direction seems to be subjected to the demands of the CinemaScope process, this shot contains a dynamism that beguiles the film's age. Why? Because it uses the three dimensions of the set, along with arresting and dramatic movement, as Demetrius runs diagonally toward the camera and beyond us, toward the Crucifixion, which we see in the next sequence.

Another sequence that really works well is the chase in the second half. It is arguably the most dramatic sequence in the entire picture, and certainly uses CinemaScope to best effect, as the horses thunder toward the audience. Over fifty years later, and it would be hard to better.

By contrast, most of the film is played out in tableaux form, with action taking place across the width of the screen on lavish but shallow sets. The camera is a passive observer, unlike modern 'epics', which usually use very fluid camera set-ups along with computer-generated imagery (CGI). The actual crucifixion (masterful in what it does not show, by the way) is indeed an actual still life tableau, and could have easily been lifted straight out of the Oberammergau passion play. I do not say this to put the film down - this actually is a brilliant move, as it makes the action faithful to the genre of the passion play, which originally was played out exclusively through short tableaux.

In this writing, my aim has been simply to help you consider alternative ways of viewing this, and other, historic motion pictures. Particularly, you may wish to take note of the sometimes unusual way the film uses: (a) framing, (b) shot length, (c) staging, (d) camera movements, (e) the use (or rather, the almost total lack of use) of close ups and 'cut-away' shots, (f) lighting, and the (g) music score and dialogue. Of course, there is much more to note: the use of dissolves and fades, which helps underline the 'epic' grandeur of every sequence. And I've not even touched on the story line or the acting. (Question: how might it have played as a silent movie?)

In today's post-modernist society, the Passion play formula, with its emphasis on objective truth, may well gain renewed importance, since the narrative of Christ's passion may be in danger of becoming yet one more voice crying in a commercial wilderness devoid of ultimate human (and Godly) values of truth, goodness and conviction. The story of Jesus stands out as unique however it is viewed. The simple reason: the story of the Passion indeed IS unique! (Which is one reason why I consider it a 'genre' in its own right.) I contend, therefore, that "The Robe" is an important contribution to American cinema, both theologically and cinematographically; one among a select number of motion pictures, spanning over one hundred years of history, that every student should have opportunity to view and discuss at least once whilst still in full time education.

A sidebar: "The Robe" really needs to be watched in 'letterbox' (i.e. in the original format), which on a small display does not do the picture justice. With HDTV coming along, look out for a digital re-release that will restore the original to its pristine glory. (Also, a side-by-side comparison with the Academy format version - shot at the same time - would be beneficial.) Best of all, of course, arrange to get it screened in your local art house cinema, and see it as it is meant to be viewed: on the big screen.

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is this a good swords and sandals epic? roundface
Impact of the robe to storyline thirdeblue
impact of cinemascope on this film stacy_peeps
RIP Jay Robinson Fingaroo
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