Barabbas
(1961)
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Barabbas
(1961)
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| Cast overview, first billed only: | |||
| Anthony Quinn | ... | ||
| Silvana Mangano | ... | ||
| Arthur Kennedy | ... | ||
| Katy Jurado | ... | ||
| Harry Andrews | ... | ||
| Vittorio Gassman | ... |
Sahak
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Norman Wooland | ... | |
| Valentina Cortese | ... |
Julia
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| Jack Palance | ... |
Torvald
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| Ernest Borgnine | ... | ||
| Arnoldo Foà | ... |
Joseph of Arimathea
(as Arnoldo Foa')
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Michael Gwynn | ... | |
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Laurence Payne | ... |
Disciple
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| Douglas Fowley | ... |
Vasasio
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Guido Celano | ... |
Scorpio
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Epic account of the thief Barabbas, who was spared crucifixion when Pilate manipulated the crowd into to pardoning him, rather than Jesus. Struggling with his spirituality, Barabbas goes through many ordeals leading him to the gladiatorial arena, where he tries to win his freedom and confront his inner demons, ultimately becoming a follower of the man who was crucified in his place. Written by Humberto Amador
"Barabbas" Fleischer poses as an inducement primordial vision of those early years of Christianity through the objective and skeptical eyes of a thief, murderer, and quarrelsome, "Barabbas." A man who saved his life at the expense of Jesus Christ, and whose fate would be inextricably linked to the progressive spreading of the word of Christ.
Unlike other films of a more sobering, Fleischer commitment to focus their story on the terrible stigma that will support lifelong Barabbas, who along with spectacular sequences such as the collapse of the sulfur mines, and gladiator fights is essence of this film.
Richard Fleischer, epic and adventurous, this film used for the Fabien Pär Lagerkvist novel, winner of the Nobel Prize for Literature in 1951. Lagerkvist, of deep religious tradition, focuses much of his work, as Zarathustra twentieth century, the question of good and evil, to face this dichotomy through the eyes of perhaps the most famous outlaw of the Holy Scriptures,
The fantastic thing about Fleischer's film, in my opinion, is the transformation that occurs in the first Templar of world history. "Barabbas," an uncertainty passes first day on which Jesus' death allowed him to save his life, a definite rearward impulse that takes part in the burning of Rome in the belief that Christians are those who are perpetrating the sad action. The poor Barabbas with hard and wild head, only death is enough to finally understand the message of Jesus and the profound difference that separates good from evil. Formidable Anthony Quinn, the great Gasmann memorable (criticized for his atheism), playing the most Christian "Sahek" immense evil Jack Palance as gladiator and beautiful Mangano