King of Kings (1927)

Watching King of Kings you may at first be taken in by the spectacle. The beginning is shot in two strip Technicolor (as the Egypt sequences were in The Ten Commandments) and is filled with that decadent splendor present in so many DeMille films. Sin might be wrong, but isn't it tantalizing, with diamond encrusted breast plates and pet leopards? DeMille never seemed able to separate the circus promoter from the pious moralist in himself, and this film is ripe with that conflict. What strikes you next and throughout the film is that this picture was made by a believer. He was rumored to have held mass before every day's shooting, and you can't doubt it, in addition to making all his actors affirm their faith in Jesus. Perhaps the great publicity machine was rolling, but heaven's I've come to believe everything I hear about this man and his films.

DeMille had originally wanted to make a film about Noah's Ark, but found that Warner Bros. was already making a film on the subject, complete with a moder story to parallel the biblical action. Hearing that description you wonder if the project wasn't written for DeMille. So a writer suggested to DeMille not to beat around the bush but to just go ahead and tell the bible's biggest and best known story, that of Jesus Christ. In the process were grand opportunities for filming miracles, and of course the inevitable God's wrath which comprises the most spectacular sequence of the film. The subject suited him quite well and the success of this film encouraged him to return to the bible several times in the future. Luckily I would say DeMille avoids his modern day morality play by clearly making this a historical film. There are no parallels to the modern day with its reckless booze and loose women. Here it is good old fashioned religion, a traveling revival show, and DeMille was the fancy preacher coming through doing flips down the aisle and yelling for the congregation to "testify". Again I have no difficulty imagining DeMille as an Evangelist preacher and his films can sometimes come off as such.

His almost childlike enthusiasm in the project is what I believe makes the film so endearing today. Sure future biblical epics would be huge spectacles, and sure they would present a compelling case, but DeMille's film is that rare picture seems to come from a genuine believer. Sure there's nothing meek and modest about DeMille or his presentation, but H.B. Warner's Jesus appears like the Jesus of paintings and church crucifix's. This isn't the doubting Jesus of Scorsese or Pasolini, this is a Jesus who stands up straight with his jaw out and never losing a second to appear holy and noble. Perhaps some of a cartoon, and DeMille even seeks to illuminate him in white following his resurrection and into his ascension, saving his one bit of modern day folklore for a superimposition at the film's conclusion. After all DeMille couldn't resist letting you know that despite a timeless tale it is still relevant. I also had to admire that in the prologue (cut from the widespread US release) he says that these events happened some 19 centuries ago in Palestine. He isn't even remotely attempting to present a version or opinion, to DeMille this is fact and historical document and making a film on Jesus would be just the same as making one on Napoleon for historical accuracy. As a side note the famous Grauman's Chinese Theater opened its doors for the first time at the premiere of King of Kings, how very fitting.