The Last Days of Pompeii (1935)

In the doomed Roman city, a gentle blacksmith becomes a corrupt gladiator, while his son leans toward Christianity.

Directors:

Ernest B. Schoedsack, Merian C. Cooper (uncredited)

Writers:

James Ashmore Creelman (story), Melville Baker (story)

Stars:

Preston Foster, Basil Rathbone, Alan Hale

Cast

Cast overview, first billed only:
Preston Foster	...	Marcus
Alan Hale	...	Burbix
Basil Rathbone	...	Pontius Pilate
John Wood	...	Flavius - as a Man
Louis Calhern	...	Prefect (Allus Martius)
David Holt	...	Flavius - as a Boy
Dorothy Wilson	...	Clodia
Wyrley Birch	...	Leaster
Gloria Shea	...	Julia
Frank Conroy	...	Gaius Tanno
William V. Mong	...	Cleon - the Slave Dealer
Murray Kinnell	...	Simon - Judean Peasant
Henry Kolker	...	Warder
Edward Van Sloan	...	Calvus
Zeffie Tilbury	...	The Wise Woman

Storyline

Peaceloving blacksmith Marcus refuses lucrative offers to fight in the arena...until his wife dies for lack of medical care. His life as a gladiator coarsens him, and shady enterprises make him the richest man in Pompeii, while his son Flavius (who met Jesus on a brief visit to Judaea) is as gentle as Marcus once was. The final disaster of Marcus and Flavius's cross purposes is interrupted by the eruption of Vesuvius.

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Plot Keywords:

bare chested male | psychotronic film | blacksmith | gladiator | city | 

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Taglines:

Behold the astounding spectacle of Vesuvius in eruption...while frantic thousands rush madly to the sea! (Print Ad- Leader-Post, ((Regina, Sask.)) 6 December 1935)

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Genres:

Adventure | Drama

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Certificate:

Approved

Did You Know?

Trivia

The screenplay was by Ruth Rose, who had also written the screenplay for "King Kong" (1933). Despite the title, it was not based on the famous 1834 novel by Edward Bulwer-Lytton. She was the wife of director Ernest B. Schoedsack.

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Goofs

As Vesuvius erupts, a large gladiator statue topples in the arena. In the first view, a long shot, the statue cracks open across the chest, at the bottom of the rib cage. In the next view, from the perspective of a man about to be crushed, the torso is intact, and the crack is at the statue's neck.

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Quotes

Pontius Pilate: My boy, I've heard such ideas, a long time ago. They are dreams - beautiful dreams, I know, but dreams nonetheless.
Flavius, as a Man: Was it a dream that once I knew a man who said "Love thy neighbor as thyself"?
Marcus: There never was such a man, I tell you.
Pontius Pilate: Don't lie to him, Marcus. There was such a man.
Flavius, as a Man: What happened to him?
Pontius Pilate: I crucified Him.

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Crazy Credits

The foreword at the beginning of the film is a disclaimer stating that this film is not based on Bulwer-Lytton's novel at all. (It does not use the novel's plot, nor does it have any of the novel's characters.) However, the disclaimer goes on to say that the filmmakers are indebted to him for the description of the destruction of Pompeii.

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Alternate Versions

A colorized version was made of this film in 1990.

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Connections

Referenced in An Unfathomable Friendship (2003)

User Reviews

A Very Under-Appreciated Film

"The Last Days of Pompeii" was a film that captivated me during childhood and still intrigues me today, albeit on a different level. As viewers' comments have noted, "Last Days" is a little heavy handed with its moral theme and the character development of Marcus the Blacksmith-turned Gladiator-turned head of the Arena. Marcus (Preston Foster) is an innately good man, blessed with a loving wife, baby son, and a career, until an out-of-control chariot shatters his existence. With his wife (Gloria Shea) nearing death, Marcus must turn to the Arena, against his earlier values, now faced with the reality that money is the key to everything. Marcus becomes a killing machine, progressing up the gladiator billing to the top spot, but then adopts the son, Flavius (David Holt), of a slain adversary, resulting in another change. Acquiring a Greek slave (Wyrley Birch) to tutor his son, Marcus eventually heads for the Holy Land to make his fortune, meets Pontius Pilate (Basil Rathbone), and encounters Christ. Pilate uses Marcus in a symbiotic way that benefits them both, but it is the Lord who heals Holt when he lies near death. Marcus turns his back on the Lord, despite the protests of Simon (Murray Kinnell), in order to get his money back to Pompeii. The scene shifts, with Flavius (John Wood) now a young man appalled by the events in the Arena and struggling to remember the man who healed him in his youth. The conflict between father and son, arrival of Pilate to take Flavius to Rome, the corrupt Prefect (Louis Calhern) who demands gore for the "Games," and Flavius' romance with a slave (Dorothy Wilson) all intertwine and lead to the climatic eruption of Vesuvius. Marcus redeems himself in the emotional conclusion.

As a child, I loved Marcus' spiritual journey from innocent joy to sorrow to hard-hearted bitterness to mercenary greed and, finally, to redemption. As an adult, I still like the tale, but have focused more on the acting and production values. I disagree with the commentators who call the acting "wooden." Foster gives one of the best performances of his career as Marcus. As many note, Rathbone renders a sympathetic, sensitive delineation of Pilate. And the supporting players are superb: Edward Van Sloan as a kindly neighbor, Frank Conroy as a kind but condescending noble, Gloria Shea as the young wife, Dorothy Wilson as the son's love interest, Calhern as the despicable Prefect, Zeffie Tilbury as an old Greek soothsayer, etc. Even the minor roles are well-etched: Ward Bond as a bragging opponent of Marcus, Jason Robards Sr. as the tax gatherer, Reginald Barlow as the slave market proprietor, Kinnell as the Judean peasant, and many more. One can even spot Jim Thorpe throwing coins after a gladiator battle. A few players did very underrated work in "The Last Days of Pompeii." Alan Hale Sr., as Burbix, captures the rough edges of a criminal and then the fierce loyalty to his understanding friend Marcus. William V. Mong, as the growling-at-times, cowering-with-fear at others, slave dealer, Cleon, gives a wonderful, colorful performance that is anything but "wooden." But it is Wyrley Birch, as Leaster, the kindly Greek scholar/slave, who provides the moral compass for the film, counseling Marcus, tolerating his greed and seeming imperviousness to the suffering of others, while educating his son Flavius that there is a better way and far superior values than those his father seems to endorse. Birch walks the tightrope and never becomes overly sentimental. Truly, Leaster represents the apex of Birch's career.

"The Last Days of Pompeii" is an enjoyable film on many levels, including as a morality tale. It is much more than that, however. And for lovers of old character actors, it is a treasure trove!

Details

Country:

USA

Language:

English

Release Date:

18 October 1935 (USA)

Also Known As:

The Last Days of Pompeii

Filming Locations:

Bronson Caves, Bronson Canyon, Griffith Park - 4730 Crystal Springs Drive, Los Angeles, California, USA

Box Office

Budget:

$1,000,000 (estimated)

Company Credits

Production Co:

RKO Radio Pictures

Technical Specs

Runtime:

96 min

Sound Mix:

Mono (RCA Victor System)

Color:

Black and White

Aspect Ratio:

1.37 : 1