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Helen of Troy (1956)

Approved | | Adventure, Drama, History | 26 January 1956 (USA)
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4:12 | Trailer

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The Iliad's story of the Trojan war, told from the Trojan viewpoint.

Director:

Robert Wise

Writers:

John Twist (screenplay), Hugh Gray (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
Rossana Podestà ... Helen (as Rossana Podesta)
Jacques Sernas ... Paris (as Jack Sernas)
Cedric Hardwicke ... Priam (as Sir Cedric Hardwicke)
Stanley Baker ... Achilles
Niall MacGinnis ... Menelaus
Nora Swinburne ... Hecuba
Robert Douglas ... Agamemnon
Torin Thatcher ... Ulysses
Harry Andrews ... Hector
Janette Scott ... Cassandra
Ronald Lewis ... Aeneas
Brigitte Bardot ... Andraste
Eduardo Ciannelli ... Andros
Marc Lawrence ... Diomedes
Maxwell Reed ... Ajax
Edit

Storyline

Prince Paris of Troy, shipwrecked on a mission to the king of Sparta, meets and falls for Queen Helen before he knows who she is. Rudely received by the royal Greeks, he must flee...but fate and their mutual passions lead him to take Helen along. This gives the Greeks just the excuse they need for much-desired war. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

Its Tumultous Story Has Lived For Thirty Centuries! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

26 January 1956 (USA) See more »

Also Known As:

Die schöne Helena See more »

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Box Office

Budget:

$6,000,000 (estimated)

Gross USA:

$6,976,000
See more on IMDbPro »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

(theatrical) | (with overture and exit music) | (uncut) | (cut) | (with overture)

Sound Mix:

4-Track Stereo (RCA Sound Recording) (magnetic prints)| Mono (RCA Sound Recording) (optical prints)

Color:

Color (WarnerColor)

Aspect Ratio:

2.55 : 1
See full technical specs »
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Did You Know?

Trivia

Harry Andrews nearly lost his part in this film when his previous film, The Man Who Loved Redheads (1955) went over scheduled filming duration. See more »

Goofs

When the Greeks are first shown marching to attack Troy, the shot appears to be flopped since all the Greek soldiers appear to be left handed. They carry their spears with their left hands, and their shields in their right. See more »

Quotes

Helen: This is not goodbye. You shall still be with me across the sea.
Paris: And you with me.
Helen: And always young, Paris, remember. What is remembered is forever young.
See more »

Crazy Credits

In the United States, the credits on the film, and the promotional material, list Jacques Sernas as "Jack Sernas." See more »

Connections

Referenced in Ken Adam: Designing Bond (2000) See more »

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User Reviews

Warnercolor - NOT Technicolor
29 April 2003 | by gregcoutureSee all my reviews

Come on, IMDb'ers! Get your stuff right. Warner Brothers was the studio and they usually forced their producer/directors around this period to use their own proprietary single-strip color process, rather than Technicolor, which by 1956 had already abandoned its own more expensive to use and cumbersome to handle three-strip process. Somehow Robert Wise and his technicians managed to get more variety and warmer tones while using Warnercolor in this film than what was usually achieved stateside on W.B.'s Burbank sound stages and on various U.S. locations. Maybe it was, as Franco Zeffirelli is fond of calling it, "the golden-ah light" of Italy. Anyway this film is quite an eye-filling visual achievement. And Max Steiner's score is one of his better ones, pumping up the spectacle aspect quite effectively.

A couple of trivia notes: The Walls of Troy set accidentally caught fire before the company was finished with it, but Wise and his technicians were on the spot and managed to get some usable footage out of that disaster. (I don't know if they had to reconstruct it or rewrite some scenes that were originally supposed to have taken place on its ramparts.) And TIME magazine in its review complained that Signorina Podesta's vaccination scar (and I think that of Monsieur Sernas as well) is clearly visible in a love scene. Without computers to fix such gaffes back then, and probably not noticing that little "oops!" until examining footage in a U.S. screening room when the company returned home for editing, the studio probably figured they'd just let it pass. But forty-foot wide CinemaScope screens were quite merciless when it came to audiences' perceptions of the obvious.


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