The overall epic tone, however constantly inspired, never really rises above the feel of certain, well, banality. Dialogues and characters as grandmas probably picture them. What stands this one ahead of some both contemporary and today's biblical movies, however, is the plot centering largely around the context of the prophets days, offering other perspectives on why the event eventually sprawled a religion.
"Desire list": heresy? for an atheist such a concept will always be dynamic. This blue-eyed in large scope screen, which fills with its extraordinary face the immensely blue sky, is the personification of an idea that excites me: apart from Marxist - Pasolini's task - "the being of beings" was also a normative deviant of an irresistible beauty. Jeffrey Hunter is a seminal image of such purposes.
Nicholas Ray's Biblical epic is perhaps unique among its peers for its focus on the geopolitical turmoil surrounding the life of Jesus, paralleling the story of Christ with that of his revolutionary contemporaries, John the Baptist and Barabbas. Sweeping in scope and grand in scale, Ray's magnificent film stands apart from many of the stodgy Biblical films of the 60s with grace and power.
Masterpiece. Nicholas Ray's stylistics overcome Christian dogma and an unnecessary narrator. The triple plot of Jesus, Lucius, and Barabbas is unique and compelling. Proof along with Rossellini's Il Messia that in cinema the depiction of the life of Jesus is best when left at the hands of a nonbeliever.