In 44 BC, after the assassination of the leader of Rome Julius Caesar, Egyptian Queen Cleopatra and one of the highest ranking Roman generals and Caesar's possible successor Mark Anthony begin a tragic love affair.
The aging Ahab, king of Israel, comes under the influence of a young and beautiful but scheming pagan woman named Jezebel and, against the advice of his advisers and the prophet Elijah, ... See full summary »
Reginald Le Borg
In 1820 Louisiana, river pirates tangle with plantation owners while gambling-ship pirate queen Lili Scarlet falls in-love with planter André Tulane to the dismay of rival Hugo Marat, leader of the river pirates.
The Jews are taken from Jerusalem and made slaves by King Nebuchadnezzar. In the meantime Cyrus, king of the Persians, who has been living as a shepherd, is proclaimed king and defeats Nebuchadnezzar.Written by
Salvatore Santangelo <email@example.com>
At least three of the actors appeared in other bible movies as well. Maurice Swartz played an advisor to king Herod Antipas in Salome, the same year in 1953. Richard Conte went on to play Barabbas in The Greatest Story Ever Told in 1965. Michael Ansara had a bit part as Judas Iscariot in The Robe also in 1953, and as a taskmaster in The Ten Commandments in 1956. See more »
The Star of Remphan, which Daniel wears as a symbol of the Israelites is in fact a Pagan symbol that represents the god Saturn. See more »
Like many of the Katzman-Castle films of this era, Slaves of Babylon renders the color process a gimmick by purveying it through a hollow vehicle. This film is the hole in the biblical doughnut. The acting is poor (comical, in fact) and the dialogue is wasteful in service of irritating 'bible-speak' quips. I won't split hairs on the use of Stars of David embroidery for all Jewish characters, but will mention that the history is off by over a thousand years. As for Castle's direction, there are some moments of mobile framing and oblique staging, but they seem to remain in service of promoting the color process itself (Nahum at the river). Dramatic scenes are continuously cut short or dealt with indifferently from the point of direction. The most absurd example of this indifferent direction is when future King Cyrus is told by his father that his mother was raped to conceive him... we don't even get a front view of Cyrus at any point during this reveal! Continuous high and low angle framing never clarifies its purpose as being that of a transcendental historical subject or a diegetic critic of the relationship of servant and master. Needless to say, this film is the epitome of anti-dramatic and is conflated with inconsistency in tone, pace and sense of itself as a text. The mise-en-scene is too tableau to be considered painterly. The painted backdrops are positioned to announce themselves confidently as fake. There is a theme of tapestry in this film and that is perhaps the only true thing about the story. With no depth perceivable, I would have to remark the only single vanishing point as being the interest of the audience member.
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