DAVID AND BATHSHEBA

US, 1951, 116 minutes, Colour.
Gregory Peck, Susan Hayward, Raymond Massey, Kieran Moore, James Robertson Justice, Jayne Meadows, John Sutton, Dennis Hoey.
Directed by Henry King.

David and Bathsheba is a rather reverent presentation of the classic Old Testament story of the king of Israel, his lust for Bathsheba, marrying her, arranging for the murder of her husband Uriah in battle and the confrontation with the prophet Nathan. All this is presented quite lavishly in this production, well written and beautifully photographed. It is portrayed quite soberly and plainly. It was suggested that it is a contrast to the gaudy Cecil B. de Mille style of biblical film. It came noon after his Samson and Delilah.

Gregory Peck may seem a strange choice for the character of King David. At times, Peck is rather wooden, but always gives an impression of uprightness. This makes his behaviour more complex. Susan Hayward perhaps is rather more knowing as Bathsheba but brings an earthiness to the role. Raymond Massey is a powerful prophet Nathan, Kieran Moore a sympathetic Uriah, victim of David. There is a dance sequence introduced which stars a young Gwen Verdon.

The familiar material is there and those familiar with the biblical story will be quite satisfied with its more literal presentation. The film was directed by Henry King, who directed many Hollywood films from the 1920s. He had directed Gregory Peck in Twelve O’ Clock High, The Gunfighter before David and Bathsheba and was to direct him as well in The Snows of Kilimanjaro and The Bravados and Beloved Infidel.

The film was written by Philip Dunne. Dunne also had a long career as a writer in Hollywood as well as directing some films. While he wrote some more serious films like Pinky, he was able to adapt such restoration novels as Forever Amber and write the screenplays for the Cinemascope spectacles, The Robe, Demetrius and the Gladiators and The Egyptian. The music is by Alfred Newman who was to score the biblical epic The Greatest Story Ever Told in 1965. The film lacks the verve and vulgarity of so many biblical epics. In its way, it is interesting and entertaining.

Orson Welles appeared as King David in an Italian version of his story. Bruce Beresford directed Richard Gere as King David in the film of the same name, 1984. The series of telemovies on biblical themes also includes a film about King David who is portrayed by Nathaniel Parker.

1. How enjoyable a film was this? Does it now seem old fashioned? Or modern?

2. Why do producers make biblical spectacles? What presupposition in audiences do they see? What presuppositions did the makers of this film have re audiences about David? Emotional and religious responses to the Jewish Scriptures?

3. How well treated were the biblical themes in this film? Was the story credible? Were the details taken too literally? The amount of reverence?

4. Was David a convincing hero? Gregory Peck's suitability for the role? As a king? A commander, an army man, his relationship with his subjects, wife? The sequence of his fascination with Bathsheba? How convincing? His growth in love for her? The ugliness of his killing of Uriah? The justice of the accusations of Nathan? The sincerity of his repentance, the death of his child? The future David with this experience? How heroic was he?

5. Susan Hayward's portrayal of Bathsheba: attractive, a woman in those times, subject to the king, unable to make her own decisions? Her decision to love David, her sinfulness? Relationship with Uriah, complicity in his death? Her reaction to the death of the child? The effect of David's love for her on her life?

6. What does this story and the film’s portrayal have to say about love, passion, crime, sin, guilt?

7. Was Uriah a convincing character - as a pagan, his urgency in loyalty to the king, the fact that he would not comply with David’ wishes (did the audience want him dead too?) His death and victimisation by David?

8. The portrayal of the generals and others in David's court? How conventional, how interesting?

9. The details of life in Jerusalem, authentic or biblical spectacular?

10. The flashbacks of David’s early life came late in the film. Why? What effect did this have? Were they interesting in themselves, convincing, the fact that the heroism was shown after the sinful events? The irony in this?

11. How successful was this film as a document of human relationships?

12. Was this a religious film? The impact of the Jewish Scriptures and their values for now?