The Robe

The Robe was the first film to take advantage of the new widescreen process, CinemaScope. As such, many theaters were not equipped to show it in that format. Unlike modern cinemas where digital tinkering can make a film fit multiple screentypes such as standard and IMAX, in the 1950s it was not quite so easy. To make this film able to be shown on the maximum number of screens, there were two possible ways to do it. Utilize two cameras side by side, one for CinemaScope and one for standard screens, or film it twice with the two different cameras. For The Robe, the latter option was utilized. This meant that the standard screen release was made up of alternate takes and is different in many ways from the CinemaScope version. For the longest time, that alternate version was the one shown on television and on home video releases. More recently, it has seen DVD and Blu-ray releases of the superior CinemaScope version, as it was meant to be seen. When advertising it for its initial theatrical release, the posters stated “The Modern Miracle You See Without Glasses,” an obvious dig at the 3D craze of the time. This, of course, ignores the fact that CinemaScope was, like 3D, a gimmick to get people into theaters.

The Robe is a Biblical-era work of fiction, an adaptation of the Lloyd C. Douglas novel of the same name published in 1942. It was purchased by RKO before even being completed with the intent that Mervyn LeRoy would direct the picture. Delays, however, kept it from going into production, and it eventually was sold to Twentieth Century-Fox with a deal that involved a lot of complicated royalties upon release. Much like Ben-Hur, The Robe is about Christianity at the time of Christ without actually featuring Jesus directly. We are to learn of Christ through his influence on others. Our central character, Marcellus Gallio (Richard Burton), is a Roman military tribune tasked with the duty to crucify Christ, and that duty will haunt him after the fact. But the true story is that of forgiveness; not only of oneself but spiritual forgiveness from above. After all, putting the son of God to death would seem like something you could never repent of, yet through the power of God, even that grave sin can be washed away. We see this when Apostle Simon Peter (Michael Rennie) forgives Marcellus and confesses his own denial of Christ.

What we are seeing is a redemption story. Marcellus, loyal to Emperor Tiberius, aids in the recapture of a Greek slave, Demetrius (Victor Mature). At the auction site, he is reunited with Diana (Jean Simmons), his childhood love who is now the ward of Tiberius and has been pledged to wed the regent, Caligula (Jay Robinson). Having a longstanding feud with Caligula, Marcellus outbids the regent at the slave auctions and wins Demetrius as his personal slave. In retaliation, Caligula has Marcellus transferred to far-flung Jerusalem. Diana says she will appeal the transfer to Tiberius, and the two pledge their love for each other and their youthful promise to marry one day.

Marcellus arrives in Jerusalem on the same day that Jesus does, observing him from a distance. When he finally seeks the man himself, Marcellus learns that Jesus was betrayed by one of his own and is before the courts to be sentenced to crucifixion. Marcellus himself is assigned the task of the execution, observing that Jesus says as he is dying, “Forgive them, for they know not what they do.” These words will haunt Marcellus. Meanwhile, Christianity is on the rise, not the fall as predicted, and Caligula, who succeeds Tiberius as ruler of Rome, treats them as traitors to the Roman Empire, to be executed. Marcellus, seeing the persecution of the innocent, and meeting and learning from Apostle Simon Peter, is converted and vows to assist the followers of Christ, even to the death.

A film like this doesn’t necessarily require the viewer to be Christian to enjoy it, but that certainly helps. Themes of sin and forgiveness play heavily into the mentality of Christianity, as does faith and the existence of miracles. The robe that the film gets its name from is the robe worn by Christ himself, and it is played up as having powers, either real or imaginary. This element of the story is not the most well-developed part of it, but it seems to play more as a reminder of the act of the crucifixion rather than a legitimate spiritual object. The problem with this lies in how when this robe is offered to Caligula late in the film, he recoils from it, too, as if it was a cursed object. Never mind that Caligula had nothing to do with the death of Jesus nor that he didn’t persecute Christians; that came over thirty years after the crucifixion, not immediately afterwards as the film depicts.

We have all known someone, or are that someone, who feels that they have committed sin so great that they could never be forgiven. But watching a film like this, we are reminded that there are few sins that cannot be forgiven, and it is up to God to make the distinction of what is and is not forgivable. From a Christian point of view, Christ had to be sacrificed on the cross to fulfill his mission, and that would necessitate someone having to do it. The idea that that person could someday come to realize what they have done and be converted to Christ is not in the Bible but is not outside the realm of possibility. There is even a bit of poetry in the idea that the man who put the nails in the cross would someday kneel down before it and worship God. It makes us feel like we could be forgiven for our own sins, no matter how great,  and return to God. Those who profess to be atheists can look at it as an allegory for forgiveness on a non-secular level, but those that believe in God will see this on a much higher level.

Richard Burton is a tremendous thespian, able to deliver amazing performances even as he struggled with alcoholism. This is evidenced in such films as Anne of the Thousand Days and Who’s Afraid of Virginia Woolf, both films he was allegedly drunk while filming. Through my admittedly limited research, I found nothing to suggest he was drinking while on set of The Robe, but if he was, he hid it well. He goes through a wide array of emotions from arrogant, angry, and guilt-ridden to converted and loyal to the cause of Christianity. When he has his conversation with Peter and finally confesses his part in the crucifixion, you can see that a great weight has been lifted. He has been carrying this burden on his shoulders for a long time, and it has finally been removed. His confession also lifts his aversion to the robe of Christ that Demetrius has been carrying ever since the crucifixion. Until that point, he shrank away from the garment as if it carried the plague.

The weak link in this production is Jay Robinson as Caligula. Caligula was described as a powerful man, big and strong, able to fight alongside his men in battle should the need arise. Yet he is often depicted on screen as small and prone to fits of immaturity and temper. This isn’t the most egregious portrayal of Caligula I have seen; that would have to be Malcolm McDowell’s, but it is just as over-the-top. Jay is playing this like he is on stage, projecting to the back row. It’s a menacing performance, but it is also laughably broad, especially when he is lashing out at his men or threatening Marcellus. Jay’s choices as an actor don’t gel with the rest of the performers around him, and it weakens his scenes overall. 

As a Biblical production, this is one of the better ones, especially amongst the fictional ones. This isn’t on the level of Ben-Hur, but at just over two hours long, it is a little more accessible to audiences who have no patience for the nearly four-hour epic that is Ben-Hur. It also doesn’t have the scale of Ben-Hur or any of the Cecil B. DeMille epics. Most scenes take place indoors, giving the production a studio-lot feel to it. There are also several times when it is trying to depict a more sprawling backdrop only to be betrayed by the obvious use of rear projection. This is especially noticeable in the finale when Marcellus and Diana are being led out of Caligula’s court to be executed. It’s meant to be a beautiful and uplifting moment, but the combination of rear screen effects and the poor choice to overlay Caligula’s poorly written dialogue, screaming “They’re going into a better Kingdom! They’re going to meet their king!” undercuts the emotion even as the score rises up and the visuals suggest they are entering into the kingdom of God. While those choices are distracting, it’s still a beautiful moment aided by the choir singing “alleluia” as the background devolves away into the clouds. 

Academy Award Nominations:

Best Motion Picture: Frank Ross

Best Actor: Richard Burton

Best Cinematography - Color: Leon Shamroy

Best Art Direction - Color: Lyle Wheeler, George Davis, Walter M. Scott, and Paul S. Fox (won)

Best Costume Design - Color: Charles LeMaire and Emile Santiago (won)

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Release Date: September 17, 1953

Running Time: 135 Minutes

Not Rated

Starring: Richard Burton, Jean Simmons, Victor Mature, Michael Rennie, Jay Robinson, Dean Jagger, Torin Thatcher, Richard Boone, Betta St. John, Jeff Morrow, Ernest Thesiger, Dawn Addams, and Leon Askin

Directed by: Henry Koster