Quo Vadis (1951) / Movie [VHS]

GREAT PLOT, TECHNICOLOR PHOTOGRAPHY, AND CAST ROUND OUT THIS METRO-GOLDWYN-MAYER CLASSIC. PETER USTINOV ALL BUT STEALS THE SHOW. DEBORAH KERR IS, AS ALWAYS, BREATHTAKING...AND ROBERT TAYLOR IS, OH WELL, ROBERT TAYLOR. ENJOYABLE!

The blu ray version is the best yet of this classic epic movie. A very large budget epic based on a novel. And it features the monstrous nero as played by peter ustinov as a true sociopathic madman. We do know that nero did indeed fiddle as rome burned but he in reality didn't start the fire. However he needed scapegoats and found them in the christians. The movie has him set the city alight but who cares it's still great entertainment! Robert taylor does a great job here as the roman commander and leo glenn as a cynical confidant of NERO is also brilliant. Deborah kerr who never had a bad performance in her life also shines as a roman slavegirl. But back to the print , the blu ray looks alot better than a standard print but they didn't remove artifacts in some scenes. These are rare , like a few lines in the print in a few scenes and several jumps do to loss of movie frames. This should have been fixed (studios need to grasp that fact!) but these instances are rare and mostly the flick just looks outstanding! This movie was a major hit and it still has a great story and great acting that makes it a great color movie to watch. In black and white spectacle and period shows unless they are film noir ,look flat and take away from the production. This is full color and it was never shot in widescreen so that's not a issue. It's at the ratio it was filmed here. And lastly why doesn't amazon.com seperate vhs, dvd, and especially blu ray reviews? this needs to be fixed. This movie is a great movie that is closer to the novel that true history and that's ok because in any version of reality NERO is the antichrist. His number is 666 after all!. So sit back and enjoy the spectacle of a expensive mgm masterpiece. With deluxe sets and top notch acting. And the best look yet on blu ray , even if there are a few flaws they are not around too much so grab this one instead of a standard dvd.

first of all the quality of the Blu-ray was HORRIBLE. The picture and sound were like watching it on regular tv, not even as good as a DVD. I just watched this instead of when I bought it otherwise I would return it. The story was boring, the acting was terrible especially by the main actor, he was terrible in this kind of film. I have always seen him in westerns where he fit in just right, but to me stands out like a sore thumb in this movie, he doesn't have the ump that is normally shown in these type of films. I am a very big fan of any roman picture, not this one though, its going from my collection.

Acting was great. Visually spectactular. A story all should see to remind us how great we humans can be and also how depreved and evil some (especially rulers) can be.

In reading some of the other reviews posted, most of them seem divided into three camps: the religious, the contemporary politically-correct, and the technical. As far as the first two camps are concerned, I will say that any major movie company, regardless of who they are, would be stupid to invest large sums of money in producing a movie that would not reflect the prevailing attitudes of the movie-going public at the time of its production. In addition, a successful film script should be reflective of those prevailing attitudes. Whether or not the attitudes of that time hold up sixty years later is another issue. At the time of Quo Vadis' production, we need to remember that the American public was in a post-war, anti-Nazi, anti-dictatorial frame of mind. Anti-Soviet attitudes were growing by leaps and bounds, and families went regularly to church. Public attitudes change with time. In a mass-communication world where attitudes can change almost overnight, criticism of a product that reflects what the prevailing attitudes are with an earlier time must be tempered with the realization that was how people viewed their world and society at that time.

Quo Vadis reflects very well, the prevailing public attitudes of the time of its production. I have not read the novel and cannot tell whether or not the script conforms with the novel. But the length of the film probably could have been cut down to about two hours, though that probably would not be sufficient time to show Commander Marcus Vinicius' growing hate of Nero and increase of belief in the Christian faith. It is known that Robert Taylor was not the preferred actor for this role, nor was Deborah Kerr the preferred actress for the role of Lygia. What makes Quo Vadis interesting is the antagonist-protagonist, lesser-actor roles of Peter Ustinov as Nero and Finlay Curie as Peter. We probably could have done without the romance of Marcus Vinicius and Lygia in the film and brought the roles of Nero and Peter to the fore, but it's romances that sell gothic novels and movie tickets.

As far as the restoration of the film is concerned, this was an excellent candidate for transfer to blu-ray and the looks of the original Technicolor negative reflect that quality. I'm glad that the film restoration technicians decided to keep the original mono soundtrack vice trying to make a 5.1 surround-sound transfer, which simply didn't exist at the time of the film's production. All-in-all, a great issue of a document reflective of its age and times!Quo Vadis [Blu-ray]

The movie had great cinematography. Although based on a novel, the historic aspects were pretty accurate. I would recommend the movie to anyone wanting to have a glimpse of the lives of early Christians.

The events in this movie really portray the lives of our Christian ancestors; at what they were submitted before, during, and after the tyrannical reigns of the Caesars.

This movie is still a classic and does not get old at all.
Peter Ustinov deserved his oscar

In the early centuries of the Christian era, the faith Christ began with a small band of 12 conquered the greatest empire. Not with swords and chariots but with love. The introduction to the movie summarizes the rest. And in this film we see all the key players in that drama, Paul, Peter, and the Christian martyrs who shamed the empire and eventually defeated her with the love of their Lord.

The title (of the book on which the movie is based) comes from the story that Peter was leaving Rome at the beginning of the persecutions under Nero when he encounters Jesus going toward the city. He recognizes Jesus and asks "Quo vadis, Domine?" or, "Where are you going, Lord?" Jesus answers that he is going back to the christians Peter was abandoning to "be crucified again." Peter is devastated by the implication and returns to Rome to also accept martyrdom. When Christ's body (his church) suffers, so does he.

The love stories that interweave the story are tasteful and truly bespeak something more than the current typical hollyweird portrayal of love as an outlet only for physical gratification. The martyrdom scenes are also done without being overly graphic yet conveying the horror just the same. This is one of those rare films that does not shrink from the dignity of man as too sappy or childish for adults. It is a great Christian film without being preachy or simplistic.

Some (particularly those of a fundamentalist persuasion) have objected to the "Christian" label being applied to this film since the Bible does not mention Peter being in Rome. But one of the earliest works of the Church in Clement I's (bishop of Rome) epistle to the Corinthians written shortly after the events portrayed in this movie mentions the martyrdom of both Peter and Paul in Rome. That epistle also mentions those two apostles as the leaders of the church in Rome. Other historical documents concur with Clement. This film is about as historically accurate as any film of the early church and very entertaining at the same time.

Very well done.

Hollywood could only dream of making a movie like this ever again. 30,000 extras is un heard of these days. It would all be computer and what not. This is a biblical epic but you don't have to believe to love this movie. I am Christian and loved how accurate this movie portrayed the early Christians in Rome. Of course we know that Nero was a nut who burnt his own city down. But this movie is so much more than that. The acting is phenomenal and the sight of ancient Rome being so perfectly built so many years ago should make hollywood envy this movie. If you love movies of ancient Rome as i do this is a must for you. And the Blu Ray is fantastic.

Quo Vadis is a rollicking sword & sandals epic from 1951, complete with campy performances, huge crowd scenes and pious moralizing. It's great fun, and is brought to Blu-ray in a beautiful restored transfer. Kudos to Warner Bros. for providing the original mono soundtrack and not a souped-up 5.1 version; the sound is actually very good for the film's age, and highlights Miklos Rosza's beautiful score.

This is an incredible DVD transfer. It shows you what movies used to be like when color was really COLOR! I've always enjoyed this film, but cannot believe how absolutely gorgeous it is on DVD. (And it really makes me long to see a restored print on the big screen.) The commentary is excellent, full of wonderful anecdotes about the making of the film and the fabulous cast. If you are fond of anciente epics, remember that QUO VADIS is the one that set the whole cycle in motion. Watch this. You are in for a treat.

At last a version worthy of having. This special edition is excellent - both sound and color and presentation.

Though this was never one of my favorite films - I just didn't like many of the actors in those particular roles - it is a classic tale in those days after Christ and during the period of Nero. Full of spectacle and drama and the Burning of Rome, and not to mention the killing of Christians in the arena, there is a lot packed into this very long drama. Because I am a lover of classic movies and historical-based epics, it is an added addition to my library and will be to yours.

Good to see it restored in its original splendor though where it breaks at the end of disc one could have been broken with Intermission or the like - especially in these films that require part two on a separate disc. Don't know how theatrical you want to make it at home, but adds to the experience and charm of the movie. I often wonder if these people at the studios marketing divisions ever actually are true movie buffs and put any thought in to how discs are compiled. Come on guys - some of us like that full theatrical experience - that is why we have home theater systems.

Excellent special features add to a great disc set. Great classic!

I gave it 4 stars because of historical inaccuracy and sometimes cheesy acting. That said, the costumes and set (actually filmed in Rome) was superb. The Roman triumph and music also superb. Although a Catholic film, for all intents and purposes based upon the novel from a Nobel winning Catholic (surprise), it was a good story about good, evil, redemption and sacrifice. Meaning, all ages can learn from it and come away with possibly some personal growth.

BTW, Peter Ustinov played a perfect psychopathic coward.

I just wish more epics on this scale could be made again.

***THIS REVIEW IS FOR THE BLU RAY EDITION***

After 3 tortuous years in the making and adapted from Henryk Sienkiwicz's huge book, "Quo Vadis" was unleashed on the public in early 1952 - just in time for maximum exposure at the Oscars in March. Costing a staggering $7 million dollars (a figure that even now seems extravagant), the sandals and sand epic did huge box office business in a post-war world hungry for pure escapism - and even managed to garnish eight Oscar nominations along the way. Unfortunately - 58 years later - time has not been kind to this bloated beast of a thing.

But first to the picture quality - as the word "Overture" sits stubbornly on your screen for a few minutes, it's clear that major restoration work has been done here - and then when Robert Taylor (Marcus Vinicus) does turn up riding his chariot into the outskirts of Rome after two years of campaigns, the colour and clarity is BEAUTIFUL. It stays pretty much this way for the whole of the movie - and as you can imagine with this much money spent on it - the outdoor and indoor sets are sumptuous - the BLU RAY image revealing colour and detail everywhere you look.

The problem for me is that the film itself - no matter how good it may look now - is a crushing bore - and if it weren't for Peter Ustinov's fabulously over-the-top turn as the loony and crass Nero, "Quo Vadis" would be unbearable. The normally lovely Deborah Kerr looks suitably bathed in Christian light and full of love for humanity as you can imagine, but I find her po-faced performance as Lygia to be tedious and strangely dead - and again as a lead, she is acted off the set by a supporting actor - the Oscar nominated Leon Gann. Gann plays the artful Petronius - a courtier to the harp-playing, poetry composing, grape-eating Divinity - who uses intelligence and cunning to effortlessly dance around Nero's increasingly ludicrous claims and word games. He - of all the cast - feels the most real - Taylor and Kerr seem to merely do their jobs.

"Quo Vadis" is three hours long - and for me - I felt too many instances where I wanted to reach for the fast-forward button. However, for lovers of the film and period buffs, the Blu Ray purchase is a no-brainer. It looks great - and if you have home cinema or a projector and large pull-down screen - then this will transport you back to the opulence of Fifties MGM overkill in a way that the DVD never could.

Great to look at then - but for me - not really a great movie...

I did not purchase this, so do not understand why I'm being asked to review it.

The Biblical epic is a fascinating genre in cinematic history, fusing secular and sacred factors of diverse history and religious mythology into a panorama of lush spectacle and hard-hitting emotional impact, always delivering a poignant message about the purest ideals of the human condition triumphing over evil. Considering that World War II had come to a close and a new conflict with new enemies - the Cold War - began soon enough, it would be reasonable that American audiences in the 1950's desired to escape into the legends of ancient empires and Biblical times.

Although the genre had been established during the silent era, and was resurrected by Cecil B. Demille with his SAMSON & DELILAH in 1949, it was with Metro-Goldwyn-Mayer's 1951 adaptation of Henryk Sienkiewicz's novel QUO VADIS that the enormously successful trend of Hollywood-produced Biblical epics during the 1950's really took off. And even though it's not as faithful to the novel as the more recent 2001 Polish version (save for the bare-bones narrative and a number of duplicated scenarios involving Nero and the Imperial Court), and not historically accurate (Sienkiewicz made a meticulous effort of researching the Roman Empire at the time of the emperor Nero, while fusing it with the religious undertones of the New Testament within his narrative), it has, along with later similar films like THE TEN COMMANDMENTS and BEN-HUR, stood the test of time as one of the most colossal (as billed in the trailers), earnest and emotionally-powerful productions ever forged. Truth be told, it even holds its own when put up against similar, but less-earnest, modern-day epics like GLADIATOR, TROY and KINGDOM OF HEAVEN, films that rely on their visual styles to carry a somewhat emotionally hollow plotline. (The only epic in recent times to really pull off QUO VADIS' style perfectly is the LORD OF THE RINGS Trilogy, although ALEXANDER and 300 DID make admirable attempts to enhance the level of the human condition within such spiritual/mythological/theological territory).

As with the book, the film is set in Rome during the year 64 A.D., about 30 years after the Crucifixion of Christ. Enter Marcus Vinicius (Robert Taylor in a performance that he has failed to top since), commander of the 14th legion, who returns after three years service against the native tribes in Briton for a full period of relaxation in his estate in Sicily. Upon his return, he is introduced to the Lygian hostage Lygia Callina (talented British rose Deborah Kerr, pre-FROM HERE TO ETERNITY and THE KING & I), whom he desires with an erotic intensity - while being completely unaware of her position as the member of the ever-growing Christian sect within Rome. Through the machinations of his uncle Caius Petronius, Nero's arbiter-of-elegance (Leo Genn giving a dignified Oscar-nominated performance), Marcus intends to have Nero legally assign Lygia to him as his property, but through her sect she escapes. In tracking her down, Marcus eventually discovers the nature of her sect, and upon finally meeting her, in a fit of humility confesses his true love for her, as she does for him. However, he faces the hard decision of whether he should abandon her in order to protect and uphold Nero's rule and the Roman way of life, or forsake his Roman background and join the sect so that he can remain with her. That decision is made for him when Nero (the scenery-chewing Peter Ustinov, who tied with Leo Genn for a nomination in the Best Supporting Actor category, one he would eventually win in SPARTACUS), chooses to fulfill his dream as the "true artist" by having his Praetorian guard burn Rome so he can rebuild it as part of his "epic", then chooses to pin the blame on the Christians in order to escape being fatally punished by the Roman mob.

QUO VADIS, while it may not be perfect, works on so many different levels that it's Herculean to find something that tops its style (in my book, it surpasses GONE WITH THE WIND and TITANIC). While those looking for a romance will definitely be smitten by the chemistry between Taylor as Marcus and Kerr as Lygia, the real magic lies in the scenes between Genn as the humanly-cynical Petronius and Ustinov as the self-pitying (not to mention matricidal) Nero, particularly those scenes where Petronius is forced to tolerate Nero's ineptitude as a poet in terms of writing and vocal performance. They are aided immeasurably by a strong supporting cast of characters, including Frank Finlay (as Apostle Peter), Ralph Truman (as the corrupt Praetorian leader Tigellinus), Buddy Baer (as Lygia's body-built guardian Arsus), and Patricia Raffan (as the conniving harlot empress Poppoea).

Mervyn LeRoy's direction makes excellent use of bright, saturated Technicolor cinematography within the Academy aspect ratio of 1.33:1 that, when combined with the superb sets, costumes and special effects (the latter factor co-created by Tom Howard of 2001: A SPACE ODYSSEY fame), result in some of the most overwhelming visuals ever generated on screen, especially during those the scenes depicting the burning of Rome and the martyrdom of the Christians thrown to the lions and burned on crosses within the Colosseum. It's a truly breathtaking experience of heightened scale, and proves to be even more authentic given that was all accomplished long before CGI took hold of creating such sequences.

Also notable is the vibrant score by Miklos Rozsa, at the time a former composer of music for film noir and standard dramas (including his Oscar-winning music for SPELLBOUND and A DOUBLE LIFE), which captures in full essence the love between Marcus and Lygia, the march of the legions, the thrilling action scenes and the relentless spiritual faith of the Christians. Rozsa's score was a first - it created the distinctive theme that many people usually associate with epic motion pictures, and one which he would put to further use in other Biblical epics during the decade, climaxing with a third Oscar win for his music in BEN-HUR. Those epics not scored by Rozsa (which curiously did NOT include THE TEN COMMANDMENTS or SPARTACUS), imitated his sound to perfection, and later composers such as John Williams, Jerry Goldsmith, Basil Poledouris and Howard Shore have all paid respective homage to Rozsa ever since.

Don't miss it, especially if it's released on the big screen. Whether you like it or hate it in the end, QUO VADIS is still a must-see that will remain memorable long after most commercial successes today have faded from memory.

An excellent film. Magnificent music. Wonderful historial detail in costumes,furtniture, props. Great fiction with history added. Note* Bible never mentions Peter in Rome...only Paul.

Quo Vadis was shot in full aperture 1:33 and from that format, they go dow to the 1:33 Academy aperture. They shot full aperture 1:33 to have a bigger negative, but they had to go down to academy aperture 1:33 to have room to put the sound track.
Resulting in better picture with sound.
Of course, Quo Vadis without Peter Usinov would not be Quo Vadis (the only real stage actor full of emotion and interpretation. A genius) R.Taylor is good in Roman Commander. The production is very hollywood style. Beautiful costumes (Too beautiful to be true !) But I liked the movie. Of course I preffer Gladiator . Better movie and acting (Except for Ustinov in Quo Vadis).
Quo Vadis is a good movie. Too bad that we can notice his age. Too hollywood for me!

Version: U.S.A - Japan / Warner / Region Free
Aspect ratio: 1.33:1
VC-1 BD-50 / AACS / Advanced Profile 3
Running time: 2:54:27
Movie size: 33,75 GB
Disc size: 36,71 GB
Total bit rate: 25.80 Mbps
Average video bit rate: 22.28 Mbps

Dolby Digital Audio English 192 kbps 1.0 / 48 kHz / 192 kbps
Dolby Digital Audio English 192 kbps 1.0 / 48 kHz / 192 kbps
Dolby Digital Audio French 192 kbps 1.0 / 48 kHz / 192 kbps
Dolby Digital Audio German 192 kbps 1.0 / 48 kHz / 192 kbps
Dolby Digital Audio Italian 192 kbps 1.0 / 48 kHz / 192 kbps
Dolby Digital Audio Spanish 192 kbps 1.0 / 48 kHz / 192 kbps
Dolby Digital Audio Spanish 192 kbps 1.0 / 48 kHz / 192 kbps

Subtitles: English SDH, Chinese (traditional and simplified), French, German, Italian, Spanish, Dutch, Portuguese, Danish, Finnish, Norwegian, Swedish, Japanese
Number of chapters: 45

#Audio Commentary
#Documentary: In the Beginning Quo Vadis and the Genesis of the Biblical Epic (SD - 44 minutes)
#Theatrical Trailers (SD - 6 minutes)

While it shows it's age (some primitive blue-screen effects in particular) this is a wonderful example of what the Hollywood studio system was capable of in the 50s. Lush and colorful with some surprising touches of historical accuracy not normally associated with Hollywood of the era (graffiti in the city of Rome) this is a moving and entertaining film. Star Robert Taylor seems somewhat out of place with his flat, contemporary line delivery early in the story, but he steps up his game when the drama calls for it. The star of the show though is Peter Ustinov who is mesmerizing as Nero. His brilliant performance is enough to recommend this movie. Technically, the film could stand some of Warner's Ultra Resolution magic, but all in all it is a glorious and beautiful high def transfer of a milestone film.

I first saw Quo Vadis when it came out in the early 1950s. It was a sensation then and continues to be so today. The cast are all excellent, and Peter Ustinov as Nero is the best ever actor to play the part. Although the film was made before wide screen, cinemascope, or any of the newer techniques, it is the story that is so well developed that pleases. Apart from the history, the film has a strong cast, director, photographer, set designer, and costumer all of whom contribute to a first class movie experience. In other words, "They just don't make them like this anymore".
It should be included in any serious movie buff's collection.

If you want to see what the film industry was capable of in the early 1950s, then forget the miscasting of Robert Taylor and concentrate on the superb performance by Sir Peter Ustinov. That, and the incredible score by Miklós Rózsa, alone make the price of this DVD worthwhile. Only in Ben-Hur did the maestro outdo himself, and many echos from Quo Vadis are present in the 1959 Wyler epic. The plot may be slightly inane and certain scenes are over-the-top, but the lush photography and superb music make it all worth your 175 minutes.

Watching an epic like QUO VADIS really makes you marvel at the sheer scale of such films -- and why, in that form -- they will never been seen again. GLADITOR, with it's CGI, would probably have cost five or six times as much had it been done with real sets and thousands of extras. The actual making of this movie is, in itself, an incredible epic of a film long delayed but when finally realized, a crowning achievement. Robert Taylor probably gives one of his best performances here along with Deborah Kerr (whom I've always loved since her films with Stewart Granger) and a really over the top performance by Peter Ustinov. A great edition and addition to any home video library!

my dads favourite epic, i watched it when i was very young and i was told that buddy baer is in it, he is lygias servant and protector, he is the brother of the great boxer max baer, peter ustinov is the greatest ever nero, robert taylor is just fantastic as a roman, this dvd has a great cover and is full of extras, get this classic now, lovely print and a great sunday afternoon movie, miss kerr is so sexy too, wow, going to watch this again now, thanks to my dad i got to see these at an early age, now i can relive my child hood all over again, buy, buy, dave flattop

I recieved this item with the most prompt service ever. Thankyou so much. I waited a long time for this Movie.
(\o/)\o/ angel hugz
Pastor Kim

A beautiful print of this good film. The film is not quite as good as the original book though. But decent, considering that Mervyn Leroy was behind the wheel of this super-production, so it could hardly fail. The best is the crisp and beautiful cinematography, the real sets, the colors, the whole spectacle of it. The weakest is the shortage of running time: the story has been shortened way to much from the original. There is no time for transitions, no character development. The heroine meets the hero and in no time he's become a Christian and they are married. It makes no sense. For the story to work properly it should have had, at least, one more hour only for character development; and then more for lots of facts that matter and are not even told in the film. For instance: the Greek character who is paid to go and pass as a Christians to later on betray them to the Romans. There's a lot of stuff that goes untold in the film. Therefore the film is just a great spectacle, but no more. Saved by the sheer audacity of a good director.

Oh, what it could have been with more time, and more money!

"Nothing do I see that is not perfection".

At last one of the great classic Hollywood blockbuster epics of the early fifties has finally found its rightful DVD home with this exceptional release from Warner Home Video!

Produced by MGM in 1951 "Quo Vadis" was Hollywood's first wallop in the fight against the onslaught of television. Available at first and for many years only on VHS tape it then began to appear on a plethora of foreign DVDs and with varying quality - it has to be said. One such unfortunate issue, which originated in Korea, was released without any opening credits whatsoever! I kid you not!

That said, we now, thankfully, have it in our possession and a superb and pristine double disc issue it is! With perfect colour resolution
Robert Surtees' brilliant Acadamy Award nominated cinematography comes across with well defined and plush imagery. With gorgeous colours for the
costumes worn by the various cast members particularly dazzling is the golden uniform as worn by star Robert Taylor as he proudly bears himself aboard his chariot during his Triumphal March through Rome.
Also of note is, of course, Miklos Rozsa's Acadamy Award nominated score.
His main Roman motif, bold and strong, dominates the scenes in the Forum and in the arena. In gentler mode is his beautiful love theme for the scenes with the star struck lovers Marcus and Lygia. Then there's the frenetic bacchanal-like Hymn of the Vestal Virgins immediatly followed by the robust and heroic Triumphal March. Also heard on this issue, and for the first time since the original Roadshow release 56 years ago, is Rozsa's Overture and Exit Music. The great composer would barely eclipse the "Vadis" score eight years later with his Oscar winning music for "Ben Hur".

The assembled cast are uniformly excellent except perhaps the syrupy and simpering performance of Deborah Kerr as Lygia. But Robert Taylor is fine in what is probaly his best known role as the Legion commander Marcus Vinicius. Outstanding is British actor Leo Genn as Petronious - the sardonic and sarcastic confidante of the tyrannical Emperor Nero. And of course there is the great Peter Ustinov chewing up every bit of scenery there is as the totally crazed and looney Nero. Both Ustinov and Leo Genn were nominated for Acadamy Awards.
The picture is also buoyed by some elaborate and colourful set pieces - the vestal virgins singing and wildly dancing in homage to the goddess Vesta, the spectacular Triumphal March of the Roman legions taking the salute from Nero as it passes the great palace, the exciting Chariot Chase and the brilliantly staged burning of Rome. And not forgetting the harrowing arena scenes as the lions are released on the hymn-singing christians.
These scenes all come across extremely well on this excellent DVD which comes with a trailer, an excellent 45 minute featurette "Quo Vadis & the Genesis Of The Biblical Epic" and a commentary by one F.X.Feeney who neglects to tell us that the opening narration is by MGM favourite Walter Pidgeon (uncredited) and persists in calling the leading lady's character Liga instead of Lygia. But it's still a DVD that every devotee will have
to have in their collection!

Here's looking forward to the Blue Ray version promised for early 2009!

Quo Vadis is one of those large scale biblical epics that has withstood
the test of time. and as they did with special edition dvds of Ryan's
Daughter, Dr. Zhivago, Mutiny on the Bounty, Grand Prix, Ben-Hur and How
The West Was Won Warner Brothers Home Video has done a splendid job of
restoring and remastering the film. but why the break??? a 2hr.52min.film
can easily fit on one side of one disc.

It bares repeating that this film was made before the invention of Cinemascope or any widescreen process. So, I don't want to hear anyone complaining about this being a "Full Screen Version". That is the only way it can be viewed. Also, even though Miklos Rozza's score is not as dramatic as Ben Hur, or any others he composed during this time period, there is obvious similarities to Ben Hur. Close to the end of the film, the march he used at the end of the Chariot Race of Ben Hur is exactly duplicated note for note. Also, throughout the film, those with a good ear will notice other similarities to Ben Hur.

I have been waiting for "Quo Vadis " on DVD for years to complete the " Ben Hur" , " King of Kings " trilogy. Considereing the stunning
presentation of "King of Kings " I was sure "Quo Vadis was going to be on an equal par especially since it was remastered in an ultraresolution.

What a disappointment. Image appeared flat and the technicolor was pale and lackluster. A far cry from the "King of Kings" presentation.
I hope the blu ray disc due out for Easter is an improvement.

Why do so many of the reviews I read here,
write of this movie as if it were a church sermon? What is this extraordinary concentration on religion in so many areas. I feel these people would find a sermon in a shopping list!
It's a MOVIE for God's sake [sorry about that], and as a movie I have always had a fondness for it. Silly though it may be, it's a lot of entertaining fun. I can't wait for the release.. I've been waiting for it for years. I remember sneaking along to see it in short pants, somehow I got in, even though I was far to young to do so.At the time I think I was thrilled with epic movies. The scale of this one is huge, they didn't need digital effects to get their ideas on screen, just imagination.The cast is splendid, Ustinov totally over the top, childish yes, but convincingly vicious, Robert Taylor, as wooden as ever, seems to work in the style context of the movie. Leo Genn,always underestimated, is as ellegant as he should be. And Debbie Kerr is all class.
Get a copy of this, and indulge yourself in a truly wonderful example of what Hollywood could do best at this time. I for one can't wait.

John Corcoran.
Scarborough,NSW.
Australia.

Since they made the decision to show Nero as a buffoon, Ustinov certainly delivered those goods. However, on repeat views over the years, I find no interest in watching this dolt. He's performed one-sided, lacking any chilling menace the real Nero must have had.

The best thing on the DVD will be skipping his tedious ego scenes. There's so much spectacle to absorb, which gets better with each view.

Robert Taylor's aloofness made a good fit for the prideful Marcus. Deborah Kerr radiated the refined Lygia. Whoever did her hair was outstanding. The ribbon with flowers entwining down the sides was a work of art unsurpassed in any film.

The photography has a lush look seldom seen anymore. The Christian message is realistc, showing terror at the lions roar, and that only spiritual help subdues it.

Quo Vadis was released in 1951 which is two years before the advent of CinemaScope and other widescreen formats of 1953. Quo vadis was released in the aspect ratio of 1.33:1, so do not look for a widescreen version on DVD. The movie is an epic in the true sense of the word. Peter Ustinov steals every scene with his wonderful, self indulgent performance as Nero. Patricia Laffan (Devil Girl From Mars) delivers a deliciously evil performance. Robert Taylor and Deborah Kerr star as Roman leader and persecuted Christian, respectively. If you enjoy movies like The Robe, Demetrious and The Gladiators, Samson And Delilah (not yet available on DVD), you will love Quo Vadis. (unknown Sophia Loren is somewhere in the crowd scenes during the burning of Rome).

This biblical epic has Peter Ustinov giving the definitive performance of the emperor Nero, in spite of the motion picture code. But then, it seems they were always relaxing that motion picture code back in the 40's and 50's as long as it was for a biblical epic of some kind. In this case, you see - although from a distance - lions carrying the limbs of dismembered Christians upon which they are feeding, along with all of the other insinuations of decadence present under Nero. Robert Taylor, who was normally a rather wooden actor IMHO, did a very good job in this one as a Roman soldier entranced by a Christian girl. If you didn't know better you might think this film was the work of Cecil B. DeMille, but instead the director was Mervyn Le Roy. Le Roy directed some of Warners fast-paced urban early sound films including Alice White's musicals, Gold Diggers of Broadway, Cagney's "Hard to Handle", Edward G. Robinson's "Little Caesar", and "Three on a Match". He also directed one of Robert Taylor's other great performances in 1942's "Johnny Eager", unbelievably not yet on DVD. In other words, Le Roy directed many crowd-pleasers. This might explain why this film got seven or eight Oscar nominations, but none for the director himself. He just wasn't considered good enough by the Academy to be "in the club" in spite of this excellent individual achievement.

Everyone knows the popular legend. Nero burns Rome to clear the way for the magnificent city he wants to build, but the peasants are revolting - literally. He then blames the odd and unpopular but quickly growing sect of the Christians for the burning, and begins feeding them to the lions for the amusement of the Romans. However, the Christians face death so bravely that Rome turns on Nero. Well, that's the movie.

The facts are much more in argument. In an ancient city such as Rome, accidental fires that destroyed cities were common. In fact Nero did lead a massive relief effort after the fire, and fires just as large broke out in Rome after Nero's death. Some historians do have the Christians confessing to the crime. The fact is that the people did begin to circulate rumors that Nero was at fault, and he was responsible for blaming th Christians for the fire to save himself. He ordered to have them thrown to dogs, though, not lions, as in the film. However, like Showtime's "The Tudors" one can somewhat overlook all of this historical jumping to conclusions and outright inaccuracy in the name of fine entertainment.

Special Features
Disc 1
Commentary by F. X. Feeney -- Filmmaker/writer Feeney explores the genesis of one of M-G-M's most glorious, grand-scale productions
Theatrical trailer
Teaser trailer

Disc 2
Commentary by F. X. Feeney continued from Disc 1
Documentary -- In the Beginning: Quo Vadis and the Genesis of the Biblical Epic - This documentary walks the road as long and complex as the film itself, from its roots as a Nobel Peace Prize-winning bestseller to its various ground-breaking adaptations to its place as the most daring and lavish film that MGM, and Louis B. Mayer, dared to undertake.

Technical notes: Quo Vadis was made prior to the advent of widescreen projection and stereophonic sound. It is presented, as in its original theatrical release, with a 1.37:1 aspect ratio and monophonic soundtrack. Because of its extreme length and detailed photography, WHV has spread the film over two discs in order to maximize bit-rate and insure the highest quality picture presentation.

"Quo Vadis" is one of my favorite films. The whole picture has the feel of a Hollywood epic with thousands of extras and lots of spectacle. The scene where Romes burns and the victory parade of Roman legions were quite memoriable. Deborah Kerr, Finlay Curie (Peter), and Leo Genn give good acting performances. Peter Ustinov's performance as Nero is a little over the top, but is never the less entertaining and memorable. The picture is greatly enhanced in the fact it was filmed around Rome. The scenes of Christians being persecuted are significantly toned down from the book but are still powerful. Overall, while not quite as good as the book, the film is a very entertaining epic dealing with love, faith, persecution, and the madness of an emperor. I hope this film will be released on a high quality DVD soon.

I don't usually like to comment on other reviewers' opinions, but in the name of honesty, I believe a previous reviewer is really blowing Peter and Paul disagreements out of proportion. I don't exactly know where he arrived at his information, but it would appear to be from radical theological persuasions rather than mainstream views.

There is so much ridiculous nonsense in this movie. Paul is shown repeatedly as believing and preaching of a physical historical Jesus. He performs baptisms and talks over and over again about an earthly physical Jesus. Paul is even shown at the foot of Peter in this movie while Peters goes on and on during a very long sermon about the physical man of Jesus.

Paul's Jesus was a purely spiritual one that he preached to the Gentiles and Peter preached to the Jews in Jerusalem. In all of Paul's letters, he never talks about a historical living physical man Jesus and he never mentions anything of a physical man Jesus as being a preacher on earth and performing miracles. Paul was part of the son of god movement. His Jesus was a spiritual channel to God. In Jerusalem, Jews would never have associated god powers to a physical man living on earth. Also, the benevolent association between Paul and Peter was only an invention of the church. These men never joined up as a preaching duo.

In the bible, Paul's Jesus is purely a spiritual one preaching the "christ within" and he never mentions anything about a virgin birth, any miracles of Jesus, any teachings of Jesus, any details of his death, and he never tries to establish a lineage to David. His teachings were also studied by the gnostics. Some of his writings were altered in the bible and Acts is not considered historical by any means. Any biblical scholar should know this.

Paul created his own converts to his own religion, warning them to reject others as "pre-eminent apostles," whom he calls "false prophets, deceitful workers, and ministers of Satan", who came among them to preach "another Jesus" whom he did not preach, and a different gospel from that which they had received from him. To the Galatians he says: "If any man preacheth unto you any gospel other than that which ye received, let him be damned;" or let him be cursed.

At one point in this movie, Paul says "Jesus wishes no man to be in bondage" in reference to slavery. What?? In the bible, Jesus mentions NOTHING about the institution of slavery. In fact, he never condemns it at all. He even refers to slaves but never says that it is wrong. Then Paul says that God says that we can't buy human beings. Huh? It is a well known fact that the God in the bible supports slavery over and over again.

EXOD 21:2 "If thou buy a Hebrew servant, six years he shall serve"
EXOD 21"20 "If a man smite his servant with a rod and die under his hand, he shall surely be punished. If he continue a day or two, he shall not be punished for he is his money"

COLOSS 3:22 "servants, obey in all things your masters according to the flesh"

1PETER 2:18: "servants, be subject to your masters with all fear"

There, of course, is much much more than just these versus in the bible on slavery.

My point is that what is shown in this movie with Paul and Peter is just plain wrong. But, the real problem is that this is what most Christians believe. It is pure delusion. The whole Quo Vadis movie is very, very pro-Christian with even the main Roman general converting to Christianity.

Among the other ludicrous things in this movie is the fact that the people place crosses in their houses! Keep in mind that this was the 60's AD. It is a well known fact that the cross was NOT used as a Christian symbol until much, much later. At one point in Quo Vadis, the Roman general takes the cross that is hanging on the wall and smashes it over his knee. Completely ridiculous.

As far as the actual movie, it is almost three hours long and it is really a love story. Robert Taylor is so obnoxious and dominating that he basically brings the whole thing down. The romance is so ridiculous. Deborah Kerr hates him for so long until she completely makes an about face on a whim and immediately falls in love with him. It really is strange to watch. As I have already mentioned, the movie completely stops down for a very long period for a ridiculous sermon by Peter while Paul sits right at his feet. If you REALLY know the bible and the history of Christianity, this movie becomes a total and complete fantasy. As long as this frame of mind is maintained, then maybe some people could find it entertaining in parts. Yes, Peter Ustinov is wonderful as Nero. It's too bad that the script was so awful. He's a truly talented actor who is basically the only thing holding the whole movie together.

This was one of my favorite movies from childhood. I also read the book and would have to say this movie captures the spirit of the book in a very PG way, which makes it a good family movie. The story pervades with conflicting desire and duty. The questions of faith and morality. As well as political intrigue, the events within Neros court are based on the writings of Roman historians. I thought that the movie did a very good job in creating a conflict between Nero and Christianity. On one hand there is Nero who believe himself a god and demands worship. On the other hand there are the Christians who believe in a Kingdom in Heavan and that Christ is their king. I really enjoy this movie when I was a child, and continue into adulthood.

Many on this site have commented on the mystery of why certain sure fire hits have been unjustly neglected when it comes to DVD release. William Wyler's "The Heiress" is a prime example, what with the added bonus of Olivia De Haviland's still being alive and probably available for commentary on her Oscar winning role. Even more to the point, the marvelous "Quo Vadis," perhaps the best spectacle film post WW2 Hollywood has so far made , languishes somewhere in vaults while third rate epics get almost weekly releases in regular and then special editions.
"Quo Vadis" is marked by amazing, pre-digital (i.e. REAL) crowd scenes amid gigantic sets, and these still take the breath away. What is even more distinctive, though, is the dialogue given to two of the supporting characters, Nero and Petronius. Peter Ustinov as the nutty emperor and Leo Genn as his arbiter of elegance, both Oscar nominees for their work in these roles, in equal measure steal the picture. They are so witty and enjoyable, they're enough to make one overlook the largely wooden acting of Robert Taylor or the familiar near-hysterical virgin's intonations of the pre-"From Here To Eternity" Deborah Kerr.
All in all, this film deserves at least one competent DVD release before another commemorative version of something like "Gladiator: 5th Anniversary" appears.

The best movie I have ever seen! They do not make them like this anymore. I recommend it to the religious and non-religious, alike. Inspiring to the former; outstanding story for the latter.

Quo Vadis is a great classical film starring Robert Taylor, Deborah Kerr and Peter Ustinov. It's on the MGM/UA Turner Collection Library own by Time/Warner Studio and it sits without an official DVD release preserving the aspect ratio of its original theatrical exhibition, while a terrible poor quality imports are been sold on the internet for over $40 each.

I can't comprehend why Time Warner Home Video have not taken notice of this and put a film dealing with the First Judeo/Christian Holocaust on a fast track restoration for a 2005 DVD release.

It's time for Time/Warner that would soon re-release a "Ben-Hur Collectors Edition" take also notice that "QUO VADIS" is a profitable asset to the studio sitting idle.

Among other on their classic movies collection, like is the case of Jack Hawkins "Land Of The Pharaohs" written by the great Willian Faulkner as well as another film directed by Vicente Minnelli "The 4 Horsemen Of The Apocalypse" starring Glenn Ford, Charles Boyer which deals about the Horrors of Nazi Germany.

All these classics of the 1950's vintage should have already been on Anamorphic Widescreen Restored DVD releases, instead of gathering dust forgotten at the Time/Warner's Studios Film Library Vault.

Can some body at Time/Warner order someone to please release them on DVD.

this is, IMO, the best of all of the christian epics. including "ben hur" and "the ten commandments." it's magnificent in scope and in detail, and more human and passionate than it's competitors.

but this film is not for children. the scenes at the end, with the lions, are among the most terrifying in movie history. death is scary enough, and execution terrifying, and this adds an extraordinary element to it.

as a society, we once exposed children to too much violendce. we've learned since then, and i think it is important to turn this dvd off near the end if children are watching.

...these were the parting words of the notorious Roman emperor Nero as he comitted suicide at the age of 30 in 68 A.D. Mervyn LeRoy's 1951 adaptation of Henryk Sienkiewicz' famous book is one of the more memorable biblical epics of the 1950s and 1960s brought to life most of all by the brilliant performance of Peter Ustinov (Lentulus the lanista in Spartacus) as the Roman emperor, Nero. The film follows the trials and tribulations of Lygia (Deborah Kerr), a convert to the new faith of Christianity in Nero's pagan Rome. The Christians are now the targets of persecutions and a centurion named Marcus Vicinius (Taylor) is sent to spy on the sect by his emperor. Marcus Vicinius falls in love with Lygia, converts, and is soon marked for death. The film follows his ordeal and those of his Christian brethren.

This is a good biblical film that's well paced and supported by good acting talent. Although a little too old for the part, Peter Ustinov steals the show in his role as the art-loving but tone-deaf emperor who, according to legend, set Rome afire and watched it burn so as to play his lyre while reciting the Iliad; the emperor who blamed the Christian cult for the fire and persecuted its followers by throwing them to the beasts or using them as human torches to light the streets of Rome. The film unfortunately propagates many of the common distortions about Nero as a person. Although Nero was certainly a despot who saw Christians as anarchists, most of the anecdotal stories about him being stupid, unpopular, and without talent have been shown to be false. Nero was quite intelligent and very energetic in his pursuit of the arts: there's good evidence that he was a talented lyre player and an average/above average singer. Nero was a master propagandist who was very well loved throughout the empire: particularly in Greece and Asia Minor where, after his death, several impostors acquired siginificant followings in their attempts to claim the throne. Actually, Nero remained a popular folk hero in antiquity (even among some Christians strangely enough) for over 400 years. Regardless of its propagation of the stereotypical image of a half-witted and artistically challenged Nero, this film is one of the best Roman-biblical films of that period and it isn't excessively dogmatic: it has something to offer for everyone. I strongly recommend it.

The '50 was the "Sword & Sandal Movies" decade. Uncountable films of the genre were released. The most notable: "The Ten Commandments" (1956) and "The Robe" (1958). Also in a very good supporting second line "The Egyptian" (1954), "Land of Pharaohs" (1955) and "Helen of Troy" (1956).
"Quo Vadis?" (1951) was in the middle, not as good as the two first but better than the others.

The story starts with the return to Rome of victorious General Marcus Vinicius, who is received by his uncle Petronius, a very important Counselor at Nero's court.
Marcus is suddenly enamored of Lygia, a Christian slave at his uncle's service.
Lygia due to her beliefs reject the attractive General who tries to forget her in Nero's orgiastic nights, but to no avail.
Nero in his folly starts a sanguinary Christian persecution, after blaming them of burning Rome. Lygia and her faithful bodyguard Ursus are thrown into dungeon to await their martyrdom. Marcus Vinicius try to rescue them against all odds.
A curious detail of the movie: it shows Christian personalities as St. Peter and St. Paul and life in the catacombs.

Main characters were given to Robert Taylor as Marcus Vinicius and Deborah Kerr as Lygia whom performed in standard mode. Leo Genn as Petronius is a step above them, but the real outstanding performance was done by Peter Ustinov as the Emperor.
This was Peter's specialty, similar good acting may be seen in "The Egyptian" and "Spartacus".
Buddy Baer as a precursor of Stallone and Schwarzenegger was great in his fight against the bull at the Circus.
Elizabeth Taylor and Sophia Loren have uncredited cameos.

This film was credited with seven Oscar Nominations and won no one. Significantly Ustiov and Genn were candidates for Best Actor in Supportive role.
Musical score authored by Budapest born Miklos Rozsa was also nominated.

It is a very entertaining "Sword and Sandal", if you like this kind of movies do not miss this one!
Reviewed by Max Yofre.

I checked this movie out of the library, watched it once, and immediately ordered my own copy. Like _All About Eve_, _Bringing Up Baby_, _Casablanca_ and _Double Indemnity_, this is a film I will be watching over and over. Excellent actors, consummate attention to historical detail, lavish sets, fine choreography and beautiful costuming all add to the viewing pleasure.

Yes, you'll be watching a fabulous spectacle depicting the plight of early Christians during the reign of the Emperor Nero. But it is the script of _Quo Vadis_ that makes the film rank high in my list of perfect movies. Clever and multi-layered, the dialogue encourages us to explore our own attitudes towards madness, faith, and sense of duty by listening in on the conversations of such varied characters as the Apostles Peter and Paul, a cast-off mistress of Nero, a Roman Senator and a Greek soothsayer.

But, ultimately, the lion's share (oops, couldn't help that little pun!) of the cast is involved in a discovery of what it is to love and be loved. We encounter a slave desperately in love with her indifferent master; an emperor who longs for the approval of his people, even while despising them; a young foreigner torn between her earthly love for a handsome Roman officer and her spiritual longing for the Word of God; a slave who will kill to protect his mistress even though he believes killing is a sin; and an advisor to the Emperor who finds that he must ultimately cast off his role of peacemaker and nursemaid to Nero if he is ever to gain self-respect.

The dialogue is antique without being precious, literate without being pretentious. It does not feel at all self-conscious, as I have found to be the case with some costume dramas. It is not an impediment to enjoying the story; it is an enhancement.

Even the most polished script, however, will flounder without actors of the proper calibre and everyone in the cast is more than equal to the task at hand. To my mind, however, Peter Ustinov's performance as the petulant, insecure, outrageous Emperor Nero is nothing short of astonishing. Alarmingly manic one moment, Nero segues into a most royal, self-pitying sulk in a couple of breaths. Ustinov makes it believable, portraying the Emperor as a spoiled and frightened child who can react one moment with pure instinct and, the next, justify inexcusable crimes with clever and convoluted argument.

Nero, who rationalizes "a man's acts may be cruel when he himself is not cruel," will eventually burn Rome and kill scores of innocents in the arena. But throughout the first half of the movie, his worst tendencies are held in check by his friend and advisor Petronious, a nobleman who describes himself as "indestructible." Petronious, portrayed with masterful irony by Leo Genn, relies on his quick wits in order to stay alive and prosper in the reign of a madman, and takes a certain pride in his ability to keep Nero under control.

Nero is always watching Petronius, seeing how he will react, trying to second-guess him. Petronius is the only person whose opinion Nero cares about, because he is the only one who is not a total sycophant. As a matter of fact, Petronius at times goes out of his way to say the total opposite of what would be politically expedient to say, then, amazingly, turn his comment around to prove that he is being loyal to Nero by being honest and plainspoken. For example, when Nero complains about how much he hates the people, that he wishes they had but a single head that he might chop it off, Petronius doesn't shame him or tell him he's crazy as a bedbug. That would hardly be effective. Instead, Petronius reminds Nero that the mob is necessary, for a ruler needs subjects and an artist needs an audience.

Unfortunately for Rome, Nero has decided sing about a burning city, and he has come to the conclusion that he must experience the real thing in order to interpret it. Also unfortunately for Rome, Petronius, who has previously complained of never being able to discover "an honest warmth in any woman," has been surprised by the love of his beautiful slave Eunice and is therefore distracted. There is no-one to talk Nero down, no-one to turn his immediate impulses into something less destructive. And when the stunned Petronius hears the news that Rome is aflame, he comments ironically, "Now, indeed, Nero has his place in history."

Indeed, Petronius is able to keep his sense of the ironic until he witnesses the terrified Romans fleeing in desperation into the hitherto forbidden neighbourhoods of the wealthy. Nero exclaims in disgust, "Is it possible that human beings can produce such a sound?"

"Yes," relies Petronius, doubtless speaking for himself as well as the terrified mob, "when they have been driven too far." And, when Nero eyes the nobleman askance, it is clear that Petronius has lost major brownie points by going too far himself. Sensing a hated rival's almost instantaneous loss of status, Nero's empress suggests that perhaps Petronius himself is one of the despised Christians. To Nero's point-blank question, Petronius responds levelly, "I am not. I have heard that the Christians teach you to love your neighbour. And, as I see what men are, I cannot for the life of me love my fellow men."

After the destruction of Rome, Petronius finds it hard to harbour any affection even for himself. Ashamed that he did not address the frightened citizens and urge them to depose Nero, the Emperor's erstwhile advisor berates himself as nothing more than "an amused cynic, a selfish onlooker."

But this amused cynic will ultimately redeem himself, by signing "with humility" a letter which is being sent to General Galba, asking him to return to Rome and depose Nero. Then Petronius calls for his servant Alexander, saying "I will give him the names of those few I love." Petronius has planned a banquet, "an evening of farewell." With his few true friends as witness, Petronius reads aloud a letter he has written to Nero, in which he advises in closing, "Brutalize the people, but do not bore them, as you have bored to death your friend, the late Gaius Petronius." His friends gasp. Petronius assures them, "it is not enough to live well; one must die well," adding, "The Christians say that death is but a transition to a better life. It will be interesting to discover." His physician has slit Petronius' wrist. He will die with honour, escaping execution at the hands of Nero, prompting one of his guests to eulogize, "With you perishes the best of our Roman world."

When Nero hears of the death of his former friend, he dissolves in melodramatic weeping. Yet even in his grief, he must perform, shedding tears into his weeping vial (one for Petronius and one for himself) and wailing for his audience, "How I have loved you, Petronius." He opens the letter, eager to read the last words addressed to him by his departed friend. But, as he scans the insulting, honest words, Nero comes to hate Petronius and everything associated with him, including Petronius' nephew Marcus and the Christian girl he loves and, consequently launch what he gloatingly describes as "a spectacle of terror." Nero always has someone else to blame for his misdeeds.

But the slaughter of the Christians brings no satisfaction to the Emperor. The Christians sing as they go to their slaughter, inspiring the reluctantly impressed Marcus to snap, "These people know how to die, Nero. You will squeal like a hog." Nero cannot understand how the Christians can sing as they are being killed. After the slaughter, he goes at night into the arena and is appalled to find that they are all smiling.

All too soon, Marcus' predictions concerning Nero come true. The Empress has arranged for Ursus, the gigantic servant of Marcus' Lygia, to fight a fierce black bull. The mob turns ugly and the military revolts when the Emperor is foolish enough to give the thumbs-down to the victorious giant. Nero will meet his end dishonourably, and a new ruler will come to power, a sane one who has no need of either scapegoats or audiences.

Satisfying from beginning to end, from the first viewing to the twentieth and beyond, _Quo Vadis_ is a treasure. And if you want to appreciate it (and films of its ilk) even more, check out Jon Solomon's _The Ancient World in the Cinema_.

A bit of trivia from the web: While a Lieutenant-Colonel in the British Army, Leo Genn was one of the Prosecuting Officers at the British-mounted 1945 Belsen War Crimes trial. Belsen, like the other concentration camps was established to hold what were considered, by the Nazi regime, as undesirable people, ranging from Jews to relatives of famous German citizens who had fled overseas. Notable inmates of Belsen include Marlene Dietrich's sister and the Dutch Jewish girl Anne Frank. Genn was awarded the Croix de Guerre in 1945.