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actually went to Italy in 1949 and proceeded to spend a great deal of money on preparations. In the end, there was Communist labor trouble in Italy, Gregory Peck fell ill, shooting was postponed for a year, and Huston and Hornblow managed to extract themselves from the project to make a film more to their own taste: ). Failing to win Lygia’s love through abduction and violence, Marcus eventually comes to admire the courage of the Christian community.But after Rome burns in a spectacular Neronian immolation, the emperor scapegoats the Christians and condemns them to the savage Roman custom of facing beasts in the arena.Huston envisioned a dark story that would emphasize the Holocaust parallel in Nero’s persecution of the early Christians.With Gregory Peck and Elizabeth Taylor cast in leading roles, Huston and producer Arthur Hornblow Jr. The director often recounted the bizarre episode when Mayer summoned Huston to his home one Sunday morning, sang Yiddish songs for him, and (according to Huston) actually fell on his knees to kiss the director’s hands and beg him to make a more sentimental and family-friendly movie. 54–68), the Sienkiewicz original focused on a cynical imperial courtier, Petronius, and his military friend, Marcus Vinicius, whose love for the imperial hostage Lygia (a ward of the state) brings him into contact with the feared and misunderstood underground sect called Christians—and into possible competition with the dangerous emperor and his lustful empress, Poppaea.The finale, curiously for a story purporting to hymn the courage of the martyrs, has a nonviolent slave, Ursus, killing the bull that threatens Lygia, while hero and heroine escape to live happily in Sicily.It is the world-weary Petronius who dies in an act of belated protest—Nero’s last victim before the mob rises in revolution against the vainglorious tyrant.

Sienkiewicz’s story had been filmed at least three times previously, most notably in a spectacular 1913 Italian production, a full-length feature that preceded stretched back to the mid-1930s, when Robert Taylor was a rising young star.

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, as much as any single film, inaugurated the era of “runaway production” that would become such a sore spot for the industry in the studio system’s final decade.

In this respect, as in so many others, the film transcends its dramatic shortcomings to stand as a milestone in the history of epic cinema. Bosley Crowther of admired the spectacle but dismissed the story as “downright childish and dull,” an example of “the most hackneyed Hollywood style.” Even Christopher Palmer, annotating a 1978 record release, had to admit that the film “was not good enough to be taken seriously.” Nominated for eight Academy Awards, did not receive a single Oscar.

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