Max-von-Sydow Movie Reviews

I am amongst those Bergman fans who prefer his post-Persona work best. I find many of his late 40's-50's films too calculated & highly pretentious (especially films like The Silence & Winter Light). One of the best Bergman films of the 70's

After having seen Woody Allen's INTERIORS I was so impressed by the direction. I found out that Allen was paying homage to Bergman and at the time I was just finding out about all sorts of different movies, I was 14 at the time so this was so amazing to me and still is. Afterwards I sought out movies by Bergman but I was always a little afraid of being dissappointed (I had recorded THE SEVENTH SEAL on TV but I thought I ought to take baby steps in terms of getting to know Bergman so I did not see it). But finally I decided to start with THE PASSION OF ANNA and now every week I rent at least two Bergman movies from my library. The direction is genius! I love the way Bergman doesn't try to hype up events. He just lets everything unravel in a natural way. Whenever someone in this movie is saying something regarding their emotional state or past experiences, etc. Bergman lets their emotions shine through and he presents us with intimate close ups of their faces so that we can observe every bit of the emotions that the character is going through. Other directors prefer to use music and other methods which I am not condemning, I actually like some of the other methods that other directors use but I had never seen a movie in which the director let everything happen so naturally, as if it weren't even a movie but a documentery though the look of the movie is not realistic, it looks like a movie but it doesn't feel like one. Bergman gives us a stark and compelling movie about these 4 people who are going through the motions and how they affect each other's lives. Max von Sydow plays a widower who lives a very mechanical life until he gets in involved in the lives of three other people and they are played by Bibi Anderson, Erland Josephson and finally Liv Ullmann as Anna. von Sydow and Ullmann I thought were particularly great. It's hard for an actor to play a man who is emotionally hollow to a certain degree but von Sydow does it perfectly. Ullmann plays a woman who is still suffering after effects of the deaths of her husband and child and who ends up looking for solace in von Sydow's character. She shows great measure of desperation and sadness in her performance without being showy. And the cinematography is very beautiful if a bit depressing to those who hate gray skies. And the lack of music gives it a very strange feeling like I mentioned before. And Bergman uses an interesting method of showing short interviews with each of the four actors with them discussing their characters. I found this to be a bit daring because Bergman ran the risk of breaking the suspension of disbelief of the audience but personally I felt it just made me go deeper into their lives and selves. I can see why Woody Allen idolizes this guy.

'The Passion of Anna' sometimes feels like a compendium of Bergman films, such as 'The Seventh Seal' (Max Von Sydow struggling to find meaning in an apocalyptic environment), 'Persona' (Liv Ullmann and Bibi Andersson as two women suffering on a remote island) and 'Hour of the Wolf' (Von Sydow, living with Ullmann on a remote island, tempted by sophisticated strangers led by Erland Josephson).

But though the film deals with the many of those films' themes - emotional violence, power mind-games, dissatisfaction, ennui, exile - it somehow seems lighter, less like spending two hours on a (nerve) rack. This may be because though the title refers to two kinds of passion - an overwhelming love for or interest in something, and a journey of trials and sufferings leading to some kind of redemption - it features a hero who is removed from either.

A gruesome mystery element soon intrudes, as an unknown figure starts slaughtering all the animals on the island. This element performs at least two functions - by asking the question, who is this madman, it forces us to look more closely at our characters; and it creates an apocalyptic feel that is an appropriate backdrop to the characters' mental deterioraton or fatigue, while also suggesting a wider, largely unseen social framework against which these isolated figures exist.

It also contributes to the film's bleak colour scheme - though in colour, the film's winter setting is all brown and grey, with big black bare trees, swathes of mud and stone, dirty smudges of snow. This has obvious symbolic value - just as we first meet Von Sydow repairing his roof, as if trying to paper the cracks in his mind; so we see him alone, sometimes drunk, in this huge, empty landscape, peopled only by dead animals, elusive madmen and an unseen mob.

As is typical with Bergman, the film is full of narrative games or interruptions, such as the actors commenting on their roles, trying to encapsulate coherence while their director proliferates the unknown; and Ullmann's monochrome nightmare, increasing the sense of medieval plague, is a figure for a malaise much closer to home.

If I could give 0 star to this film, I would. I absolutely adore Robin Williams, but this film was sheer torture to sit through. The plot is convoluted and the characters unlikeable, or at best, incomprehensible. Annabella Sciorra's character becomes so inexplicably depressed that you're left at a loss as to why Robin Williams' character would even stand by her. The visual effects are stunning, but just can't make up for the miserable plot. The best thing about the film, seriously, is the title, which was what made me want to watch it in the first place and left me wondering halfway, when is this going to end???

This is without a doubt one of the most visually stunning films that I have ever experienced. It is magnificent, but without being overwhelming. Yet, I think that I would like it even if the camera work and effects were not so beautifully done. This is because I also find it the most thoughtful and mature film on the topic of the afterlife to ever come out of Hollywood.

The concept that we have to gradually overcome our preconceptions after death has the ring of truth to it. The metaphor of the art-loving Chris Nielsen seeing the afterlife as a great expressionistic canvas- until his guide rips through it to show him the next level is quite well done. This seeing beyond appearances and preconceptions to recognise our fellow beings as they really are is also quite profound. Personally, I enjoyed the fact that the deceased family dog seemed to be the only one that had no trouble adapting to his new surroundings.

Yet, this isn't a piece of new-age mind candy. Nielsen's wife's decent into despair after his death, followed by his epic quest into the depths of "hell" to rescue her, is positively mythological. I especially enjoyed Max Von Sydow as the the psychopomp guide (looking exactly like Carl Jung.)

The acting in this film is wonderful. The story line was heart felt and thought provoking. Robin Williams is at his best. I have shared this movie with many of my friends. It brings about questions of faith but most of all it gives us hope about our live here on earth and after. No matter what your religion or whether you have a religion at all, it provides dreams.

If I could give 0 star to this film, I would. I absolutely adore Robin Williams, but this film was sheer torture to sit through. The plot is convoluted and the characters unlikeable, or at best, incomprehensible. Annabella Sciorra's character becomes so inexplicably depressed that you're left at a loss as to why Robin Williams' character would even stand by her. The visual effects are stunning, but just can't make up for the miserable plot. The best thing about the film, seriously, is the title, which was what made me want to watch it in the first place and left me wondering halfway, when is this going to end???

This is without a doubt one of the most visually stunning films that I have ever experienced. It is magnificent, but without being overwhelming. Yet, I think that I would like it even if the camera work and effects were not so beautifully done. This is because I also find it the most thoughtful and mature film on the topic of the afterlife to ever come out of Hollywood.

The concept that we have to gradually overcome our preconceptions after death has the ring of truth to it. The metaphor of the art-loving Chris Nielsen seeing the afterlife as a great expressionistic canvas- until his guide rips through it to show him the next level is quite well done. This seeing beyond appearances and preconceptions to recognise our fellow beings as they really are is also quite profound. Personally, I enjoyed the fact that the deceased family dog seemed to be the only one that had no trouble adapting to his new surroundings.

Yet, this isn't a piece of new-age mind candy. Nielsen's wife's decent into despair after his death, followed by his epic quest into the depths of "hell" to rescue her, is positively mythological. I especially enjoyed Max Von Sydow as the the psychopomp guide (looking exactly like Carl Jung.)

The acting in this film is wonderful. The story line was heart felt and thought provoking. Robin Williams is at his best. I have shared this movie with many of my friends. It brings about questions of faith but most of all it gives us hope about our live here on earth and after. No matter what your religion or whether you have a religion at all, it provides dreams.

Filmed in Scandinavia, Max Von Sydow, Per Oscarsson, and Liv Ullman are first rate in this psychological thriller.

During this time The Emigrants, Scenes from a Marriage, The New Land and other Nordic pictures took center stage above the Night Visitor. Although the aforementioned 3 occupy the absolute elite of all-time Nordic cinema, The Night Visitor is well worth watching and an interesting departure from stereotypical Scandinavian pictures.

The ending of this movie is great. Watch until the end.

This is an excellent European thriller, with a cast culled from both Scandinavia (Norway, Sweden, Denmark) and England.

Max von Sydow as Salem, the inmate in an asylum for the criminally insane, does a fine job as the lead, (supposedly) unjustly accused and sentenced for a crime he--maybe--didn't commit. Liv Ullmann (who's Norwegian, not Swedish as some people may think) is just as good as his sister, married to a doctor played by Per Oscarsson. The two of them, with the help of a greedy lawyer and a conniving sister, managed to have Salem convicted of the murder of an innocent farmhand. And Trevor Howard plays the investigating inspector who is equally strong--and certain there's more to the case than meets the eye.

Now someone is killing off the people who had Salem committed. Who could it be? Salem himself is locked away in the asylum, surely one of the dingiest and most desolate institutions ever shown on film. But the doctor shows some loopy behavioral tics, so there's a real chance it could be him.

The answer to the mystery is fascinating. This is not a horror film, as an earlier, extremely well-known and highly regarded reviewer for this venue has said (see below), but a thriller whose details are developed quite well. However, there are two logic gaps that are somewhat puzzling:

1) Why doesn't the bird make any noise before the climactic scene?
2) What happens to the rope once it's used? Does it magically reappear under the boat again?

Don't worry, I'm not giving anything away. You have to see this film to appreciate these questions. And it's definitely worth seeing.

Any horror film starring Max von Sydow, Trevor Howard, Liv Ullmann and Andrew Keir has got to be worth a look and "The Night Visitor" is certainly deserving of a gander. The story is the brooding tale of Salem (von Sydow), a convict who wants revenge on his family, who had the gall to put him in an insane asylum after a brutal ax murder. Each night Salem sneaks out of the asylum to take vengeance on his accusers. Howard is the Inspector trying to catch-up with the murders. Based on Samuel Roeca's story, the script by Guy Elmes is fairly ingenious. This 1971 film was directed by Laszlo Benedek ("The Wild One," yes, the biker flick with Brando), and is certainly a bit slow moving at times, but it does have a couple of chilling moments. However, given the cast and the director, "The Night Visitor" is going to be something of a disappointment simply because you expect better from this bunch.

There's a theory, perhaps Freudian, which claims that, for women, religious ecstasy parallels sexual ecstasy. For men the theory, perhaps Freudian, is that men's ideal woman is both mother and whore. Be these theories as they may, Ingmar Bergman's lifelong fascination has certainly had religion as a major focus. In PRIVATE CONFESSIONS the character Anna is first sexually drawn to the priest who officiates at her first communion, even though he is much older, and her uncle. In the event she marries a priest, Henrik, and bears his children. A family friend, Tomas, declares his love for Anna, and she succumbs and enters the affair with an unbridled, unleashed passion. Their relationship is peppered with expressions of fear and it soon becomes clear that Tomas is alarmed by Anna's powerful emotions, and the relationship founders. Tomas is just not "up to it". Such is the bare bones of this marvellous film. The themes I found interesting include the compulsion among many of us for control over others;the ordered versus the disordered life (there is a marvellous scene in which the husband at home notices a plant is dying, a chair is misaligned and has a squeaky rib and there are four minor stains on the tablecloth, all of which he takes as visible manifestations of his wife's neglect of her family in favour of her philandering whereas it is merely his perceptions that create this belief) family versus one's own desires which may be outside the family; the need for compromise; faith; ritual and loneliness. Pernilla August, as Anna, is frankly rivetting and it is impossible to take one's eyes off her. Indeed, the camera can remain for what seems minutes on her silent face and we read, as a book, the thoughts and feelings that are conveyed by her subtle but evident expressions.Every emotion, including rage, is a wonder to witness. There may be nothing more interesting in Art than the human face, and the cinema, in particular the cinema of the likes of Mr Bergman, has made the most of that fascination. In the film before us Ms Liv Ullman has done a brilliant directing job of bringing Mr Bergman's writing to the screen.

Written by Ingmar Bergman and aptly directed by Liv Ullman, "Private Confessions" continues the chronicle of Bergman's parents which began with the 1992 film "The Best Intentions." Now, twelve years into the marriage of Anna and Henrik (Pernilla August and Samuel Froler), the story unfolds through a series of five "conversations" which are actually pivotal intervals in Anna's life. The first is with her Uncle Jacob (Max von Sydow), a clergyman, and we learn of the anguish she has suffered due to her own unfaithfulness to the autocratic and demanding Henrik. Though she does not regret the affair, she realizes the precariousness of her position and the threat it poses to the well-being of her family, especially the children. Jacob tells her she must end the affair at once, and advises her to tell her husband everything. She knows how much this would hurt Henrik, and must decide whether or not to do as her Uncle insists. In the second conversation we learn the outcome of her decision.

The third segment takes place two months prior to her confession. Anna arranges a rendezvous with Tomas (Thomas Hanzon), a young theology student, at the home of a friend. When it is finished, Tomas leaves her, appalled by his own inadequacies at allowing their affair to proceed at all. Anna truly loves him though, and knows that she will always be with him, at least in her own heart. The next conversation is ten years later. Jacob is dying and has asked for Anna to come to him. They have not actually spoken with one another since he advised her in the matter of her affair with Tomas. All this time he has wondered, burdened by the possible outcome of his advice, and doesn't want to go to his grave without knowing. He is relieved to learn she has not seen Tomas in ten years, and they take communion and pray together. Then, in the final segment, Anna is eighteen years old, a confirmation student of Jacobs, and we learn of her doubts concerning her faith. Jacob, her spiritual advisor, tells her she must decide for herself whether or not to take communion, and in the end we are left pondering Bergman's familiar themes of faith, suffering and the foibles of human nature he addresses so adroitly; the pain of discovering one's own loneliness; and the guilt we all seem destined to bear. Liv Ullman has done an outstanding job of rendering Bergman's material to the screen, and should be commended for eliciting exemplary performances from von Sydow, Hanzon and especially August, and for allowing them the time necessary with which to convey as much with an expression or a gesture as with words alone. These moments enable the actors to breathe life and meaning into their characters while giving credence to the morality to which those characters must adhere. "Private Confessions," like all of Bergman's work, will make you pause and reflect on your own life and imperfections, while bringing you face to face with the reality of being mortal.

Made in the 1950's, where many epic movies were made, "The Greatest Story Ever Told" is a retelling of the classic story of Jesus Christ. Filmed in Arizona and with a cast of thousands, this film is a homage to the life of Jesus, played here by Max Von Sydow. The director, cast, and crew spend much of their time recreating what happend in Palestine, 2,000 years ago. Though slow at some parts, the Christian family should watch it for Easter or Christmas.

The landscape somewhat resembles ancient Israel, and the sets are suberbly done, giving us a desert-like feel. The music is soft and sweeping; a powerful scene in the film would be the resurrections of Lazarus and Christ, in which a Handle "Hallelujiah" chorus is sung. All those movie-making elements help create a retelling of the life of Jesus, ranging from his birth at Christmas Eve, and continueing from his adulthood, his ministry, and ending with climax at the Easter Resurrection. It includes a cast of thousands, including John Wayne. Recommended for those who love Biblical epics.

Because of the subject matter, the life of Jesus Christ, of whom more blood and ink have been spilled than any other human being to have ever walked the Earth, no one film can really be called THE definitive telling of this story. But George Stevens put six years of blood and sweat into making a film that would come awfully close to being just that--THE GREATEST STORY EVER TOLD. In its time, this movie ranked as one of the most expensive ever made by a major Hollywood studio at $20 million. In its original form, it also ranked as one of the longest as well, at four hours and twenty minutes. It was also critically savaged and did only so-so at the box office, though it was far from a commercial flop.

Although it doesn't exactly stick to the letter of the Good Book, THE GREATEST STORY EVER TOLD still depicts the life of Jesus from his birth to his eventual crucifixtion and resurrection with remarkable accuracy. Several scenes, including Jesus being baptized by John the Baptist, are among the most moving ever filmed. Stevens, who co-wrote the massive tome of a script with James Lee Barrett and Carl Sandburg, filmed on location amongst the vast panorama of the Colorado River basin along the Utah/Arizona border as a stand-in for the actual Holy Land, a move for which critics seemed unable to slam him enough, but which I think worked anyway. Three composers--Alfred Newman, Hugo Friedhofer, and Fred Steiner--are credited with the massive score, and the use of the "Hallelujah Chorus" from George Frideric Handel's great oratorio "Messiah" was a cagey choice on Stevens' part.

One aspect about GREATEST STORY that obviously continues to raise eyebrows and no shortage of ire to this very day is the fact that Stevens seemingly cast half of Hollywood's acting elite in what were primarily cameo roles. This had been done before in films like THE LONGEST DAY and HOW THE WEST WAS WON, to name just two, and would be done again and again in the coming decades. I think that Stevens' flaw was not that he cast so many Hollywood heavyweights, but that he placed a number of them into roles they probably weren't cut out for.

Max von Sydow had the ultimate acting challenge of portraying Jesus of Nazareth here; and given the weight and expectations of Western civilization being imposed on him, he came off extraordinarily well. Charlton Heston, no stranger to Biblical epics he, also gave a tremendous performance as John the Baptist, one that one would expect from an actor of his stature. Telly Savalas, years before "Kojak", gives a steely portrait of Pontius Pilate; and Donald Pleasance, many years before HALLOWEEN, makes a very convincing Dark Hermit (a.k.a. Satan).

In the other roles, Stevens' choice of casting ranges from interesting (Roddy McDowall, Sidney Poitier, Dorothy McGuire, David McCallum) to a bit questionable (Robert Blake, Sal Mineo, Pat Boone [though Boone's later conversion to Christian music makes his presence here far less jarring now than it did then]). But even now, Stevens' casting of John Wayne as a Roman centurion during the Crucifixtion scene is hard to swallow. It's hard to mistake Wayne's drawl with the one line he has ("Truly, this man was the son of God"), and just as hard not to crack a smile at the flat way he renders it.

Still, despite the occasional miscating, the extreme length, and the near-impossibility of getting it 100% correct for everyone, THE GREATEST STORY EVER TOLD is quite an achievement in cinematic history. Without a whole arsenal of special effects to work with, but with an imposing reputation all his own, Stevens made a definitive Hollywood epic that perhaps needs to be re-examined--hopefully in the original state that it was released.

The Greatest Story Ever Told is a huge epic movie that boasts an impressive cast full of Hollywood notables. The movie follows the life of Jesus from his birth in a stable in Bethlehem to his teachings with his disciples all the way to his crucifixion and Resurrection. Because the film is so huge, many parts of the life of Jesus are just skipped over and talked about later by characters who saw it happen or heard about it. This is surprisingly effective to show how quickly Jesus' notoriety spread throughout the area. There are several very good scenes done with no sound except for Alfred Newman's fantastic score even though we know people in the background are screaming at Jesus as he walks by carrying the cross. One particularly effective scene involves Simon of Cyrene, played by Simon Poitier, helping Jesus carry the cross after he has fallen. As Jesus gets up, he grabs onto Simon's arm who helps him go on. It is a very short scene, but nonetheless very moving.

The cast for this movie could go on for pages. Max von Sydow gives an excellent performance as Jesus Christ, although he might not look like the usually accepted idea of Jesus. Charlton Heston and Telly Savalas also give very good performances as John the Baptist and Pontius Pilate. The film also stars David McCallum as Judas, Jose Ferrer as Herod Antipas, Dorothy McGuire as Mary, Martin Landau as Ciaphias, Donald Pleasence as Satan(although he is credited as the Dark Hermit), and many others. The film also stars Michael Anderson JR, Roddy McDowall, Victor Buono, Ed Wynn, Sal Mineo, Ina Balin, Carroll Baker, Van Heflin, Jamie Farr, and so many more. There are several very small cameos most notably John Wayne, Shelley Winters, Sidney Poitier, and Claude Rains all of which are pretty good for how small they are. The Special Edition DVD offers the widescreen presentation, theatrical trailer, making of documentary, an altered scene during the crucifixion scene, still gallery, and a filmmaker's documentary. For an excellent look at the life of Jesus, if somewhat sanitized, check out The Greatest Story Ever Told!

Made in the 1950's, where many epic movies were made, "The Greatest Story Ever Told" is a retelling of the classic story of Jesus Christ. Filmed in Arizona and with a cast of thousands, this film is a homage to the life of Jesus, played here by Max Von Sydow. The director, cast, and crew spend much of their time recreating what happend in Palestine, 2,000 years ago. Though slow at some parts, the Christian family should watch it for Easter or Christmas.

The landscape somewhat resembles ancient Israel, and the sets are suberbly done, giving us a desert-like feel. The music is soft and sweeping; a powerful scene in the film would be the resurrections of Lazarus and Christ, in which a Handle "Hallelujiah" chorus is sung. All those movie-making elements help create a retelling of the life of Jesus, ranging from his birth at Christmas Eve, and continueing from his adulthood, his ministry, and ending with climax at the Easter Resurrection. It includes a cast of thousands, including John Wayne. Recommended for those who love Biblical epics.

Because of the subject matter, the life of Jesus Christ, of whom more blood and ink have been spilled than any other human being to have ever walked the Earth, no one film can really be called THE definitive telling of this story. But George Stevens put six years of blood and sweat into making a film that would come awfully close to being just that--THE GREATEST STORY EVER TOLD. In its time, this movie ranked as one of the most expensive ever made by a major Hollywood studio at $20 million. In its original form, it also ranked as one of the longest as well, at four hours and twenty minutes. It was also critically savaged and did only so-so at the box office, though it was far from a commercial flop.

Although it doesn't exactly stick to the letter of the Good Book, THE GREATEST STORY EVER TOLD still depicts the life of Jesus from his birth to his eventual crucifixtion and resurrection with remarkable accuracy. Several scenes, including Jesus being baptized by John the Baptist, are among the most moving ever filmed. Stevens, who co-wrote the massive tome of a script with James Lee Barrett and Carl Sandburg, filmed on location amongst the vast panorama of the Colorado River basin along the Utah/Arizona border as a stand-in for the actual Holy Land, a move for which critics seemed unable to slam him enough, but which I think worked anyway. Three composers--Alfred Newman, Hugo Friedhofer, and Fred Steiner--are credited with the massive score, and the use of the "Hallelujah Chorus" from George Frideric Handel's great oratorio "Messiah" was a cagey choice on Stevens' part.

One aspect about GREATEST STORY that obviously continues to raise eyebrows and no shortage of ire to this very day is the fact that Stevens seemingly cast half of Hollywood's acting elite in what were primarily cameo roles. This had been done before in films like THE LONGEST DAY and HOW THE WEST WAS WON, to name just two, and would be done again and again in the coming decades. I think that Stevens' flaw was not that he cast so many Hollywood heavyweights, but that he placed a number of them into roles they probably weren't cut out for.

Max von Sydow had the ultimate acting challenge of portraying Jesus of Nazareth here; and given the weight and expectations of Western civilization being imposed on him, he came off extraordinarily well. Charlton Heston, no stranger to Biblical epics he, also gave a tremendous performance as John the Baptist, one that one would expect from an actor of his stature. Telly Savalas, years before "Kojak", gives a steely portrait of Pontius Pilate; and Donald Pleasance, many years before HALLOWEEN, makes a very convincing Dark Hermit (a.k.a. Satan).

In the other roles, Stevens' choice of casting ranges from interesting (Roddy McDowall, Sidney Poitier, Dorothy McGuire, David McCallum) to a bit questionable (Robert Blake, Sal Mineo, Pat Boone [though Boone's later conversion to Christian music makes his presence here far less jarring now than it did then]). But even now, Stevens' casting of John Wayne as a Roman centurion during the Crucifixtion scene is hard to swallow. It's hard to mistake Wayne's drawl with the one line he has ("Truly, this man was the son of God"), and just as hard not to crack a smile at the flat way he renders it.

Still, despite the occasional miscating, the extreme length, and the near-impossibility of getting it 100% correct for everyone, THE GREATEST STORY EVER TOLD is quite an achievement in cinematic history. Without a whole arsenal of special effects to work with, but with an imposing reputation all his own, Stevens made a definitive Hollywood epic that perhaps needs to be re-examined--hopefully in the original state that it was released.

The Greatest Story Ever Told is a huge epic movie that boasts an impressive cast full of Hollywood notables. The movie follows the life of Jesus from his birth in a stable in Bethlehem to his teachings with his disciples all the way to his crucifixion and Resurrection. Because the film is so huge, many parts of the life of Jesus are just skipped over and talked about later by characters who saw it happen or heard about it. This is surprisingly effective to show how quickly Jesus' notoriety spread throughout the area. There are several very good scenes done with no sound except for Alfred Newman's fantastic score even though we know people in the background are screaming at Jesus as he walks by carrying the cross. One particularly effective scene involves Simon of Cyrene, played by Simon Poitier, helping Jesus carry the cross after he has fallen. As Jesus gets up, he grabs onto Simon's arm who helps him go on. It is a very short scene, but nonetheless very moving.

The cast for this movie could go on for pages. Max von Sydow gives an excellent performance as Jesus Christ, although he might not look like the usually accepted idea of Jesus. Charlton Heston and Telly Savalas also give very good performances as John the Baptist and Pontius Pilate. The film also stars David McCallum as Judas, Jose Ferrer as Herod Antipas, Dorothy McGuire as Mary, Martin Landau as Ciaphias, Donald Pleasence as Satan(although he is credited as the Dark Hermit), and many others. The film also stars Michael Anderson JR, Roddy McDowall, Victor Buono, Ed Wynn, Sal Mineo, Ina Balin, Carroll Baker, Van Heflin, Jamie Farr, and so many more. There are several very small cameos most notably John Wayne, Shelley Winters, Sidney Poitier, and Claude Rains all of which are pretty good for how small they are. The Special Edition DVD offers the widescreen presentation, theatrical trailer, making of documentary, an altered scene during the crucifixion scene, still gallery, and a filmmaker's documentary. For an excellent look at the life of Jesus, if somewhat sanitized, check out The Greatest Story Ever Told!

Made in the 1950's, where many epic movies were made, "The Greatest Story Ever Told" is a retelling of the classic story of Jesus Christ. Filmed in Arizona and with a cast of thousands, this film is a homage to the life of Jesus, played here by Max Von Sydow. The director, cast, and crew spend much of their time recreating what happend in Palestine, 2,000 years ago. Though slow at some parts, the Christian family should watch it for Easter or Christmas.

The landscape somewhat resembles ancient Israel, and the sets are suberbly done, giving us a desert-like feel. The music is soft and sweeping; a powerful scene in the film would be the resurrections of Lazarus and Christ, in which a Handle "Hallelujiah" chorus is sung. All those movie-making elements help create a retelling of the life of Jesus, ranging from his birth at Christmas Eve, and continueing from his adulthood, his ministry, and ending with climax at the Easter Resurrection. It includes a cast of thousands, including John Wayne. Recommended for those who love Biblical epics.

Because of the subject matter, the life of Jesus Christ, of whom more blood and ink have been spilled than any other human being to have ever walked the Earth, no one film can really be called THE definitive telling of this story. But George Stevens put six years of blood and sweat into making a film that would come awfully close to being just that--THE GREATEST STORY EVER TOLD. In its time, this movie ranked as one of the most expensive ever made by a major Hollywood studio at $20 million. In its original form, it also ranked as one of the longest as well, at four hours and twenty minutes. It was also critically savaged and did only so-so at the box office, though it was far from a commercial flop.

Although it doesn't exactly stick to the letter of the Good Book, THE GREATEST STORY EVER TOLD still depicts the life of Jesus from his birth to his eventual crucifixtion and resurrection with remarkable accuracy. Several scenes, including Jesus being baptized by John the Baptist, are among the most moving ever filmed. Stevens, who co-wrote the massive tome of a script with James Lee Barrett and Carl Sandburg, filmed on location amongst the vast panorama of the Colorado River basin along the Utah/Arizona border as a stand-in for the actual Holy Land, a move for which critics seemed unable to slam him enough, but which I think worked anyway. Three composers--Alfred Newman, Hugo Friedhofer, and Fred Steiner--are credited with the massive score, and the use of the "Hallelujah Chorus" from George Frideric Handel's great oratorio "Messiah" was a cagey choice on Stevens' part.

One aspect about GREATEST STORY that obviously continues to raise eyebrows and no shortage of ire to this very day is the fact that Stevens seemingly cast half of Hollywood's acting elite in what were primarily cameo roles. This had been done before in films like THE LONGEST DAY and HOW THE WEST WAS WON, to name just two, and would be done again and again in the coming decades. I think that Stevens' flaw was not that he cast so many Hollywood heavyweights, but that he placed a number of them into roles they probably weren't cut out for.

Max von Sydow had the ultimate acting challenge of portraying Jesus of Nazareth here; and given the weight and expectations of Western civilization being imposed on him, he came off extraordinarily well. Charlton Heston, no stranger to Biblical epics he, also gave a tremendous performance as John the Baptist, one that one would expect from an actor of his stature. Telly Savalas, years before "Kojak", gives a steely portrait of Pontius Pilate; and Donald Pleasance, many years before HALLOWEEN, makes a very convincing Dark Hermit (a.k.a. Satan).

In the other roles, Stevens' choice of casting ranges from interesting (Roddy McDowall, Sidney Poitier, Dorothy McGuire, David McCallum) to a bit questionable (Robert Blake, Sal Mineo, Pat Boone [though Boone's later conversion to Christian music makes his presence here far less jarring now than it did then]). But even now, Stevens' casting of John Wayne as a Roman centurion during the Crucifixtion scene is hard to swallow. It's hard to mistake Wayne's drawl with the one line he has ("Truly, this man was the son of God"), and just as hard not to crack a smile at the flat way he renders it.

Still, despite the occasional miscating, the extreme length, and the near-impossibility of getting it 100% correct for everyone, THE GREATEST STORY EVER TOLD is quite an achievement in cinematic history. Without a whole arsenal of special effects to work with, but with an imposing reputation all his own, Stevens made a definitive Hollywood epic that perhaps needs to be re-examined--hopefully in the original state that it was released.

The Greatest Story Ever Told is a huge epic movie that boasts an impressive cast full of Hollywood notables. The movie follows the life of Jesus from his birth in a stable in Bethlehem to his teachings with his disciples all the way to his crucifixion and Resurrection. Because the film is so huge, many parts of the life of Jesus are just skipped over and talked about later by characters who saw it happen or heard about it. This is surprisingly effective to show how quickly Jesus' notoriety spread throughout the area. There are several very good scenes done with no sound except for Alfred Newman's fantastic score even though we know people in the background are screaming at Jesus as he walks by carrying the cross. One particularly effective scene involves Simon of Cyrene, played by Simon Poitier, helping Jesus carry the cross after he has fallen. As Jesus gets up, he grabs onto Simon's arm who helps him go on. It is a very short scene, but nonetheless very moving.

The cast for this movie could go on for pages. Max von Sydow gives an excellent performance as Jesus Christ, although he might not look like the usually accepted idea of Jesus. Charlton Heston and Telly Savalas also give very good performances as John the Baptist and Pontius Pilate. The film also stars David McCallum as Judas, Jose Ferrer as Herod Antipas, Dorothy McGuire as Mary, Martin Landau as Ciaphias, Donald Pleasence as Satan(although he is credited as the Dark Hermit), and many others. The film also stars Michael Anderson JR, Roddy McDowall, Victor Buono, Ed Wynn, Sal Mineo, Ina Balin, Carroll Baker, Van Heflin, Jamie Farr, and so many more. There are several very small cameos most notably John Wayne, Shelley Winters, Sidney Poitier, and Claude Rains all of which are pretty good for how small they are. The Special Edition DVD offers the widescreen presentation, theatrical trailer, making of documentary, an altered scene during the crucifixion scene, still gallery, and a filmmaker's documentary. For an excellent look at the life of Jesus, if somewhat sanitized, check out The Greatest Story Ever Told!

Starts off good and goes downhill. When you see it, I hope you agree that Robards would NOT have gone in the water to his ship as this person he just trecked through a hurricane to destroy walks off with his daughter! Don't worry, I didn't give anything away...there's nothing to give away.
Special effects are great and so is Dayton Ka'ne's body, but that's about it! And I totally don't believe these two are in love.
I've heard the original (directed by JOHN FORD) is great. See it instead. That's next on my list!

In my opinion, Dayton Ka'ne is the star attraction of this film. Beautiful Cinematography, where the movie was filmed completly on location on the island of Bora Bora. Cast also includes, Mia Farrow, Jason Robards, Max Von Sydow, Timothy Bottoms, James Keach and Manu Tupou. I felt that Mia Farrow was miscast in this film. Although I do know people liked her in the tv serieal Peyton Place and the film, Rosemary's Baby. Dayton Ka'ne sizzles the screen and his acting is honest, smooth and natural. His love scenes are tender and passionate. Those honey-colored eyes! His dancing will have you begging for more. The special effects of the hurricane will hold your attention. Dayton Ka'ne did one more film completed in 1979. BEYOND THE REEF (1981) also known as SHARK BOY OF BORA BORA and SEA KILLER. I wish this film was available on VHS or DVD for the United States of America. Beyond The Reef was also produced by Dino De Laurentiis with Dayton Ka'ne in the lead role. Joseph Ka'ne also appeared in Beyond The Reef.

very sweet and almost old fashioned romance takes place. the location of the movie was wonderfull. if you like beautifull men then dayton ka'ne will satisfy you. he has a gorgeous and hot body and the face to match. not to mention that he doesn't usually wear much of anything in the movie! the acting is somewhat mediocre but it does the job.if you are expecting "the blue lagoon" forget it. the movie has some slow and boring parts but be patient, it all comes out in the wash. so enjoy!

To appreciate this film I believe you have to consider the time it was released. During the mid 1970's the cold war was looming over the U.S. and somehow a film like this seemed almost possible. Viewing it now in the year 2000 viewers will realize they are living in what this film indicates will be a post nuclear war environment. Obviously the events in this movie never materialized, thank heavens. Cadillac's are still being produced. Although unlike the mid 70' when people purchased then they are now leased.

This film is good because for those of us who lived with the fear of nuclear war it reminds of us of how we as a nation worried about some things other than how long this bull run in the stock market will last.

Yul Brynner was a little old to be running around with his shirt off. This film was made about 20 years after THE TEN COMMANDMENTS but for some reason the producers must still think Brynner's body will get the women viewers attention. Not so.

"The Ultimate Warrior" is a post-Holocaust action film that came out in 1975 after "The Omega Man," but just before the genre became popular with "Mad Max" and "Escape From New York." The film is set in 2012 in a New York City that was decimated by a biological plague a couple of decades earlier that has created a world in which nothing grows. Now in the decaying city Baron (Max Von Sydow), leads a group that has barricaded a street against a rival gang of thugs, run by Carrot (William Smith). Wanting his pregnant daughter, Melinda (Joanna Miles), to have a better future, Baron hires Carson (Yul Brynner), a super-Samurai, who has been standing outside the public library waiting for somebody to make an offer for his services. Baron has heard of a mythical island off of the coast of North Carolina and wants to relocate his band there. Of course, this means fighting their way out of what is left of the Big Apple. Melinda's husband, Cal (Richard Kelton) is a scientist who knows the secret of growing plants from seeds, so humanity might have a chance after all.

Director/writer Robert Clouse is therefore offering up the first combination Science Fiction/Kung Fu film, which is not surprising since he directed Bruce Lee's "Enter the Dragon." From that perspective the film offers up the tradition two warring sides with champions that face off to settle the issue. The script is actually halfway decent, although surprisingly the action sequences are the weakest part of the film until the climatic battle between Carson and Carrot. However, the opening scene does a nice job of establishing the world in which this film takes place. The film hinges on Brynner's performance, which is actually fairly complex because we are not completely sure that Carson is a cynical anti-hero; in fact, we suspect he might be the only truly human character in the film. "The Ultimate Warrior" is no where near being the ultimate example of the post-apocalyptic action film, but it is a solid, unpretentious little B-movie. Plus, it has Yul Brynner.

The Ultimate Warrior baldly set precident for other films of similar genres. I had read about this film a while back and had been waiting for a chance to view it. The Ultimate Warrior is far from perfect but brings forth a lot fun that todays watered down made for video flops can't seem to do. This movie seems like a combo of Logans Run, Man Max, and Kung Fu. Wow, where to begin? I personally like Yul Brynner's character, it makes me remember when movies with masculine heros existed. Bynner doesn't play a pretty boy, he is a bald tough guy who has a job to do. I like the independance of the hero character, he doesn't rely on a affirmitive action based sidekick or allow himself to be overtaken by feelings towards [beautiful] woman.... A thinking man of the sorts who smokes cigars and does what is right even if it means chopping his own hand off. I'm not going to ruin the plot of this gem for you, just add it to your collection and pray they don't try making a remake of this post appocalptic rarety.