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OSV News photo/Simone Risoluti, Vatican Media
From the silent era through the mid-1960s, Bible-based films were a reliable staple of Hollywood’s output. Directors both famous and obscure mined the Scriptures for stories they could bring to the big screen, with results that ranged from the reverential to the exploitative.
At Easter, viewers of faith may want to dip into this store of vintage offerings.
Director William Wyler’s classic Hollywood epic follows the Jewish prince of the title (Charlton Heston) after he’s betrayed by his boyhood Roman friend (Stephen Boyd) and subjected to much misery until finally achieving retribution for all his suffering. The narrative’s conventional melodrama is transformed by the grand scale of its spectacle, especially the chariot race, and by the stirring performances of its principals who manage to overcome the story’s cliches and stereotypes.
Six episodes from Genesis (Creation, Adam and Eve, Cain and Abel, Noah, the Tower of Babel and Abraham) are pictured as literally as they were written, largely leaving their interpretation to the viewer. John Huston directs, narrates and plays the part of Noah in this reverent but entertaining spectacular. George C. Scott as Abraham takes acting honours among a cast that includes Ava Gardner and Richard Harris.
Sparkling screen version of a musical based loosely on the Gospel according to Matthew, featuring an off-Broadway cast with Victor Garber as the Christ figure and David Haskell as both John the Baptist and Judas. What makes the movie so high-spirited is director David Greene’s turning the New York into a giant stage which is used strikingly for presenting the parables in imaginative skits, many of which serve as springboards for irresistible tunes, such as “Day by Day” and “God Save the People!”
Straightforward Italian dramatization of the evangelist’s account of the life of Jesus and His message of salvation succeeds exceptionally well in placing the viewer within the Gospel events, avoiding the artificiality of most Biblical movie epics. Director Pier Paolo Pasolini is completely faithful to the text while employing the visual imagination necessary for his realistic interpretation. Subtitles.
While not the greatest movie ever made, director George Stevens’ vision of the Gospel story presents a consistent, traditional view of Christ as God incarnate. The movie, despite its epic Hollywood scale, is well-acted, tastefully and realistically written, beautifully photographed and Max von Sydow’s believable portrayal of Christ is the most essential element in its success.
Screen version of the Andrew Lloyd Webber-Tim Rice musical adds a completely new dimension and drive to the music by virtue of a cinematography that enhances the original songs but also threatens to overwhelm them. Director Norman Jewison presents a visual recording, with optical embellishment, of a performance of the rock opera based on the last days of Christ’s life on Earth, ending in His crucifixion. Entertaining as musical theatre, it can also be seen as a sincere if naive effort to tell the story of Jesus in contemporary musical and ethical terms. Some scenes require a mature perspective.
Stolid screen spectacular presents the life of Christ within the historical context of Jewish resistance to Roman rule. Uncomfortably cast in the title role is Jeffrey Hunter, though more effective are Siobhan McKenna as his mother, Robert Ryan as John the Baptist, Hurd Hatfield as Pilate, Rip Torn as Judas and Harry Guardino as Barabbas. Directed by Nicholas Ray, the script is preoccupied with the period’s political unrest but treats the Gospel account reverentially, if with more dramatic license than some might find acceptable.
Less an inspirational story based on Biblical sources than a dramatic vehicle with a sense of history, director Cecil B. DeMille’s epic offers some spectacular re-creations, excellent technical effects and good acting from a fine cast, including Charlton Heston as Moses, Yul Brynner, Anne Baxter, Edward G. Robinson and many other stars of the era.
A version of this story appeared in the April 20, 2025, issue of The Catholic Registerwith the headline "Bible-based films for Holy Week, Eastertide".
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