An all-enveloping darkness. Suddenly, a child's voice, frightened, questioning, pierces the darkness... The first flickering rays of light begin to sculpt mysterious shapes out of the ... See full summary »
An elaborate Hollywood retelling of the Bible stories narrated by the film's director John Huston. We open with the Creation of the World and arrive at the Garden of Eden with Adam and Eve and continue on to Cain and the murder of Abel. Next, we visit Noah and his ark with its spectacular flood sequence. Then we come to the story of Nimrod, King of Babel, the emergence of man's vanity and the heights to which it could aspire if unchecked. Finally we cover Abraham, a mystic who spoke personally with God, a leader of men, a builder of nations, a pioneer and a warrior and Sarah. At the time she conceived her first child, the event being forecast by an Angel of the Lord. Three such Heavenly Messengers appeared in the course of events which befell Abraham and Sarah. Written by
In some cities (such as Atlanta, GA) this film, which was shot in Dimension 150, a "curved screen" process, was not shown on a curved screen during its first run, despite the fact that there existed Cinerama theaters in those cities. This did not happen with the second and last film released in Dimension 150, the much more successful Patton (1970). See more »
After Cain attacks Abel, Abel falls forward, but when Cain walks over to the body, Abel is face-up. See more »
Lo, here I bring my love beside thee in the tent.
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I've always noticed an interesting trend among critics when they review a Biblical movie. Since most critics are of a skeptical nature, they usually carry with them the bias that unless the movie deviates from a traditional telling of what the Bible says it is somehow dull cinema. That somehow there can't be anything compelling in seeing the stories of the Bible dramatized in a straightforward manner with no inane attempts to "humanize" the tales through the lens of a modern, secular society.
Well, I make no apologies for being one of the devout and saying that I prefer my Bible stories straight, without any modernistic elements that are meant to make hidden slams at why the stories are important to begin with. For me, "The Bible" is one of the best Biblical epics precisely because it takes its subject material seriously and only alters a few details (Nimrod for instance is not identified as the king at the time of the Tower of Babel) to get a coherent cinematic presentation in place. Christopher Fry, whose uncredited rewrite of "Ben Hur's" screenplay helped make that film a literate masterpiece of cinema brings the same touch here. And Huston does a fine job of directing.
Those who bash this film, much like those who are given to bashing movies like "The Greatest Story Ever Told" while praising garbage like "The Last Temptation Of Christ" are often saying more about themselves than they are about the film they've just reviewed. What they regard as "boring" I regard as a noble effort to give a visual understanding to the events of the Bible. And "The Bible" despite only covering the first half of the book of Genesis succeeds brilliantly at it.
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