The Robe (1953): 70 Years of the Easter Classic

Happy Easter weekend, friends!!

…And Happy 70th Anniversary to The Robe!

I remember the first time I caught a glimpse of this movie. I must have been 8 or 9 years old and my cousin’s grandfather was sitting on the couch enraptured by it. As I was passing (aka running) through the room in pursuit of my cousin, all I saw was a brief moment in the final scene, but that was enough to make an impression on me.

The splendor of ancient Rome portrayed in vivid Technicolor, the confident Richard Burton standing up to a crazed emperor, and the golden age of filmmaking all seemed to call out my name.

Viewing The Robe as an adult provides a different experience for me. I’m still in awe of the splendid cast, the scope, and visual beauty of the movie, but I find that the quiet moments of the film hold something very special. And those quiet moments were brought about by those beyond the screen, working in the shadows to make the film the enduring classic that it is 70 years later.

1. Henry Koster

Let’s rewind the clock to the 1950’s…

It had been 3 years since 20th Century Fox had a hit.

Looking to Lloyd C. Douglas’s best-selling novel of redemption as the vehicle to save the studio with a technological advancement to bring in the crowds, Zanuck and producer Frank Ross assembled a winning team to bring The Robe to the big screen.

German born director Hermann Kosterlitz was of Jewish descent. Fleeing from his native land as Hitler rose to power, he secured a contract with Universal Studios and, along with Joe Pasternak, produced 6 out of 10 of Deanna Durbin’s most successful musicals. Koster’s efforts in coaching the 14 year old Durbin to stardom saved Universal from bankruptcy, making him a sought after talent in Hollywood.

Koster proved his versatility directing anything that Hollywood threw at him: historical dramas, musicals, comedies, even thrillers. But my heart holds a special place for his delicate touch in films like The Bishop’s Wife (1947), for which he received his only Oscar nod, Come to the Stable (1949), which charmingly follows two nuns as they surmount the odds and build a hospital, Harvey (1950), starring that mischievous 6 foot tall white rabbit, and The Robe (1953).

As a former screenwriter, Koster knew the importance of a strong message, but also realized the method of delivery was just as important. His restraint in the crucifixion scene is especially notable and distinctive among those in film history.

Fun Fact: Throughout his career, Koster directed 6 actors in Oscar nominated performances, twice for Richard Burton.

2. Philip Dunne

Speaking of screenwriters, let me introduce you to Philip Dunne. This man had a way with a story and his words flow like poetry. His involvement extends to some of my favorite movies including Son of Fury (1942), The Ghost and Mrs. Muir (1947), and Prince of Players (1955).

In a 1969 interview, Dunne cited that his major contribution to the screenplay was adding complexity to Marcellus’s story by paralyzing him with guilt and madness, thereby sending him to seek out and prosecute the followers of the man whom he had crucified. Lloyd C. Douglas’s book is much more simple in this regard.

Dunne’s work on The Robe is intelligent and reverential, and roots us firmly in the ancient world while still feeling fresh and relatable. As we follow Marcellus (Richard Burton) from a soldier tortured by his own conscience to a humble seeker of peace, we embark on our own journey and reflect on what is most important to us.

While it’s difficult for us to imagine walking in the shoes of a Roman tribune, like all good stories, the themes The Robe presents are universal. Love versus hate, freedom versus tyranny, and the search for inner peace.

Note: Albert Maltz, who at the time was named as one of the Hollywood Ten, did not receive credit for his work on the film until many years later, but he deserves recognition here as well as Gina Kaus, who adapted the work for the screen.

3. Alfred Newman

Okay, so normally the musical score of a biblical epic is not the definition of quiet, am I right? But I find composer Alfred Newman’s interpretation stylistically unique from the epics that would shortly follow.

By crafting broad strokes of sound with sustaining chords often accompanied by a wordless chorus and weaving simple melodies into the threads of the score, Newman leaves room for the audience to digest the scope and power of this larger-than-life story.

Newman’s score overflows with atmosphere and is emotionally layered as a rich chocolate cake. Sometimes the music carries the entire scene, relaying the narrative and representing Christ whose face we do not see. I cannot listen to the soundtrack alone or with the film and not be moved by it. From the haunting opening chords, to the strains of the exceptionally beautiful love theme for Marcellus and Diana, this score stirs the soul.

Newman’s approach compliments every facet of the production, and elevates the film to an even higher level. He should have won the Oscar, yet sadly, the Academy did not even give him a nomination.

Note: I was shocked to learn this bewildering oversight prompted his colleague, composer Franz Waxman (Rebecca, 1940), to resign from the Academy! Waxman went on to score the sequel forThe Robe with the condition that Newman receive credit for the themes Waxman based his work upon. (Now that’s the kind of guy you want in your corner!)

“Alfred Newman’s score is the greatest score I have ever heard for any motion picture!”

Darryl Zanuck

If you have yet to see The Robe, or it’s been a while, I invite you to take a trip back into film history, let the music wash over you, and be swept up in a remarkable viewing experience this holiday.

Fun Facts

• The Robe was the first film to be released in the widescreen format, CinemaScope, whose screen was nearly twice as wide as the standard. The overwhelming success of The Robe and the new format marked a turning point in film history. The widescreen format continues as the standard to this day.

• Since CinemaScope was a gamble, 20th Century Fox also filmed The Robe in the standard format which can be seen on the 2009 Bluray of the film in a side-by-side comparison feature. It’s worth a look as there is a notable difference in line readings, editing, and staging of scenes. The occasional chiming in of film historians provides further context and interest. Highly recommended if you’re looking for a new way to experience the film.

• The Robe was nominated for five Oscars including Best Picture, Best Actor for Burton, and won for Best Art Direction and Best Costume Design. It also garnered a Golden Globe for Best Drama and Laurel Awards for producer Frank Ross and director Henry Koster. It was the highest grossing film of 1953.

This post was written in response to the Pick My Movie Tag for which my blogging pal over at 18 Cinema Lane nominated me. Thank you for tagging me, Sally! In order to accept this tag I must list the rules of the tag and nominate my fearless comrades. Here we go!

The Tag’s Rules

• Nominate one or more people to review the film or films of your choice. Or you can request they review something from a certain year, genre, or star. Everyone can review the same thing, or you can request each person cover something different. As long as it’s something they haven’t written about yet, you’re good.
• Nominees are allowed to request a different pick for whatever reason no more than five times. Stuff happens. We all know it.
• Nominees must thank the person who nominated them and provide a link their blog.
• Nominees may nominate others to keep the tag going. Picking the person who nominated them is allowed, or they can nominate someone else. Maybe both.
• All participants need to include these rules in their post, whether they’re nominees or picking nominees.
• All participants should use the “Pick My Movie” banner or something similar in their posts.
• Have fun!

I nominate these lovely people listed below to review a classic they’ve been dying to see. It could be one that’s been on your list forever, but fate keeps getting in the way and pushing it off. Or it could be one that you’ve heard about recently. The only criteria is that it’s a first time watch for you!

The Nominees

Classic for a Reason

Diary of a Movie Maniac

Lee Mac

Movie Fan Man

Phyllis Loves Classic Movies

Realweedgiemidget Reviews

Taking Up Room

A Vintage Nerd