In Quo Vadis Emperor Nero (Peter Ustinov) is the ruler of ancient Rome 64-68 AD at a time when Nero's corruption of the Roman Empire runs head on with a ground swell of Christianity.   Robert Taylor takes on the role of Roman military commander, Marcus Vinicius. He finds himself at odds with his country and everything he believes when he falls for the Christian slave Lygia, played by Deborah Kerr. The 1951 film, a mix of historical figures and fiction, was nominated for eight Academy Awards.

When Markus returns to Rome a victor in a recent battle, he expects a hero's welcome for his troops. Instead he's told to waitout side the city for another group of returning warriors so they can all enter the city at once; and Nero can gloat in the limelight.

Furious about this decision Markus leaves his troops behind as he grabs a chariot and barrels to Nero's palatial estate. He's somewhat placated by Nero, who Marcus realizes is more and more like a buffoon. He sings like a dog howls and makes up silly words to songs while those around shatter him with praise.

Marina Berti

Marcus's uncle Petronius (Leo Genn) is also Nero's closest advisor, but only in ways that will benefit those close to Petronius. When his anxious nephew is still upset, Petronius tries to calm Marcus's nerves with a beautiful young lady. His first offering is the lovely Eunice, played with dizzying sexual appeal by Marina Berti. She, however, has her heart set on Petronius, so is happy when Marcus passes on her.

It's then that Marcus is sent to the house of the slave girl Lygia. They have an instant attraction, and Marcus is patient with her but she will not succumb to him because he is not a Christian. A moment when he decides to take her by force is thwarted by her guardian Urdus (Buddy Baer), who is about the size of three men.

Deborah Kerr

& Robert Taylor

Love then takes a back seat to historical events. As the Christian numbers increase, and Nero sees his rein in jeopardy, he takes the drastic step of burning Rome, and blaming it on the Christians. Romans flee, and it's at this point that Marcus understands what Christianity is all about. He finds Lygia and gets her and many others to safety. They are soon captured, however, thrown into jail and ordered to be eaten by lions in what Nero hopes to use as a display of power and intimidation.

Quo Vadis is based on the best-selling novel by Henryk Sienkiewicz, and has made many trips to the big screen. The first silent film was made in France in 1902. The second was made in Italy in 1912 and was directed by Enrico Guazzoni. Directors Georg Jacoby and Gabriellino D'Annunzio tried their hands with a German version in 1925, but it suffered a tragic accident when one of the trained lions turned from its human dummy and attacked an extra whom died from the attack.

The 1951 film is ranked as the best overall, but there were more to follow. In 1985 director Franco Rossi brought the story to TV as a mini-series. In 1993 there was yet another TV version. Director Jerzy Kawalerowicz created a Polish film version in 2001; and Greek director Takis Touliatos launched his film version in 2004.

MGM liked the conflicted and fragile story and bought the rights to Henryk Sienkiewicz's book in the early 1930s. They planned to bring it to the big screen immediately but times were not good. In 1943 it was put on the front burner with a look at Gregory Peck, Orson Wells, Elizabeth Taylor, Marlene Dietrich and Charles Dawson to play the lead roles. Filming began in Mexico but the enormous cost soon overcame reality and the shoot was shut down. By 1949 things were rolling and the roles went to Deborah Kerr and Robert Taylor. Elizabeth Taylor and Sophia Loren appeared as prisoners in the arena scene but were uncredited.

The film had a grandiose production. Filmed in Rome at the Cinecitta Studios, nothing was spared to bring the epic to the big screen. The cinematography by Robert Surtees (Mutiny on the Bounty, Ben Hur) and William V. Skall (Rope, The Silver Chalice) was amazing. Costume design by Herschel McCoy was extraordinary especially considering the nearly 30,000 extras used in crowd scenes - no CGI here. A scene where Nero unveils an incredible model of the city of Rome is only one of the scenes that attest to the incredible art and set design of the film that earned William A. Horning, Cedric Gibbons, Edward C. Carfagno and Hugh Hunt Oscar nominations.

Quo Vadis served a duality of purposes. A grand epic that moviegoers flocked to the theater to see, Quo Vadis was MGM's most successful film of its time after Gone With The Wind. Yet the religious aspects were also widely received. The horrors of a second World War II left the country raw with fear and uncertainly; a renewal of a faith alleviated these elements. The name Quo Vadis, Latin for Where are you going?, refers to a story of St. Peter meeting a vision of Jesus while fleeing his own crucifixion. The inclusion of the biblical characters of Peter (played well by Findlay Currie) and Paul (Abraham Sofaer) add validation to Christian movements during the fall of the Roman Empire. The historical aspects mixed in with bits of fiction found an accord with audiences.

While the ambitious direction by Mervyn LeRoy has often been questioned; he put everything he had into the project and delivered a superior film. He had helmed (some uncredited) nearly 60 films including everything from musicals like Broadways Babies (1929 ), the drama I Am a Fugitive from a Chain Gang (1932) to Thirty Seconds Over Tokyo (1944) before Quo Vadis.

Leo Glenn and Peter Ustinov

Performances in Quo Vadis are uneven. Peter Ustinov earned his Academy nomination for Best Actor in a Supporting Role. He plays Nero as an insecure, boastful, egotistical and pompous man, but brings humor to the story that breaks up the long three-hour film. How he treats his wife, Poppaea (Patricia Laffan) is overlooked because she has her eye set on Marcus. And when Nero thinks about taking Lygia for himself, Petronius, wanting her for Marcus, convinces him her waist is too small. Only a simpleton would go along with this explanation. Ustinov's stellar performance is matched by the understated portrayal of Glenn as Petronius. He's the brain of Nero, the heart of Marcus, and the suppresser of doom.

Deborah Kerr had made about 12 films before Quo Vadis so was not actually a newcomer to acting. Her beauty certainly filled the requirement for a woman that would cause a man to turn a blind eye to his role as protector of his Emperor; but Lygia's role in Quo Vadis didn't offer the solid opportunities that roles in From Here To Eternity (1953) and The King and I (1956) did and which, among others, earned her Oscar nominations.

I had trouble buying into Robert Taylor's portrayal of Marcus throughout the entire film. He looks the part and wears the uniform of a warrior well. However, his acting was dry, almost emotionless, and I felt like he was an actor going through his lines. Especially weak is his pronouncement when he finally appeals to a higher power as Ursus battles to keep a lion from eating Lygia and shouts, "Christ, give him strength." Taylor made more than 81 films in his career but never received any major film awards.

Over all the cast does a great job. A few other standouts are Rosalie Crutchley, who plays Acte, Nero's servant who truly loves him; Buddy Baer as the burley giant and devoted protector of Lygia; Marina Berti as Eunice, Petronius's wife and Findlay Currie as Peter.

Quo Vadis is true "classic" in so many ways, it's a must see. It still unleashes a wow factor nearly 60 years after its original release. Other Academy nomination the film received include: Sam Zimbalist for Best Picture; Ralph E. Winters for Best Film Editing; for Best Film Editing and Miklós Rózsa for Best Music, Scoring of a Dramatic or Comedy Picture.

Director: Mervyn LeRoy, Anthony Mann (uncredited)

Writer: Sam Bermann, Sonya Levien, John Lee Mahin (uncredited), Henryk Sienkiewicz (novel)

Cast: Peter Ustinov, Leo Genn, Robert Taylor, Deborah Kerr, Marina Berti, Findlay Currie, Buddy Bear, Patricia Laffan, Nicholas Hannen, D.A. Clarke-Smith, Alfredo Varelli, Geoffrey Dunn

Rating: Not Rated (mature themes)

Classic Movie Guide Rating: 4.5 out of 5

Run Time:  174 minutes

Studio: MGM Pictures

Format: Color - full screen

Photo credits: MGM Pictures