THE BIG FISHERMAN
US, 1959, 180 minutes, Colour.
Howard Keel, Susan Kohner, John Saxon, Martha Hyer, Herbert Lom, Ray Stricklyn, Marian Seldes, Alexander Scourby, Beulah Bondi, Brian Hutton.
Directed by Frank Borzage.
The Big Fisherman or is based on a novel by Lutheran minister and author, Lloyd C. Douglas, is known for Magnificent Obsession, filmed in the 1930s as well is in the 1950s, White Banners, medical story, and, principally, for The Robe, the first Cinemascope film in 1953. Characters from that film and novel were used for its sequel, Demetrius and the Gladiators. Four years later, The Big Fisherman was produced – unfortunately for its commercial success and awards, the same year as Ben Hur which scooped the Oscars pool. The Big Fisherman was nominated for photography and costumes.
It is hard to tell whether the film was a success in its time. It now seems particularly dated, difficult to watch except for the most devout. While it is based on some gospel characters, Peter does not appear until 30 minutes into the film. He is played by Howard Keel who was making the transition from musical star to dramatic actor (later to be capitalised on for Dallas). The supporting cast seems minor – Susan Kohner, who appeared in Imitation of Life (and was to retire from films in 1964 after marrying and bringing up her two sons Paul and Chris Weitz, significant writers and directors in their own right). John Saxon at the beginning of his career is the Arabian prince, with Herbert Lom hamming it up as Herod Antipas and Martha Hyer as Herodias.
The film was directed by Frank Borzage, an actor and director from 1913 to the early 1960s who had a significant Hollywood career.
The film was made in the United States standing in for Galilee and for Arabia. The film takes advantage of its locations to create an atmosphere – although, the Arabian story with which the film opens seems to bear little relationship to the Gospels. However, there is the preaching of John the Baptist at the Jordan, the behaviour of Herod Antipas and his loyalty to Rome as well’s Rome’s criticism of him, and a silhouette presentation of the beheading of John the Baptist.
As regards Jesus, it was a tradition for him not to be seen, merely a white robed arm touching characters. However, a lot of the gospel preaching is presented, in a stern, rather rhetorical manner, with the use of ye olde English language and vocabulary which means that Jesus seems somewhat remote.
While the plot has Peter as a fisherman, listening to Jesus, carrying a baby to him to be healed of blindness, known as a disciple, some interludes with Andrew and John, most of the story is speculation – without any gospel foundation but rather the imagination of Lloyd Douglas.
1. The biblical epic of the 1950s? In comparison with such films as The Robe, Ben Hur?
2. The novels of Lloyd C. Douglas, in the tradition of The Robe? Grounding in the Gospel texts? Not focusing so much on Gospel events as on the words of Jesus? Talking about him and his impact? Imaginative fiction with some characters from the Gospels?
3. The American locations for Galilee and for Arabia? The cities, the deserts, the countryside, palaces and interiors? The musical score?
4. The title, expectations about Peter and his presence in the film? Satisfied? Howard Keel in the central role? The big man, strong character, Fisherman, his life in Galilee, fishing with the other apostles, the storms? His sick mother-in-law? His wife dead? His going to hear Jesus, listening to the sermons? Sceptical, carrying the blind baby and witnessing the cure? As a disciple? Known as such? His friendship with David? The encounter with the Fara, recognising her as a woman, sheltering her, taking her to listen to Jesus, meeting Voldi? The situation with Herod, the threats, Peter rescuing her from killing Herod, planning to take her by boat to Arabia his taking her away at the end, becoming a convert?
5. The opening 30 minutes, the situation in Arabia? Fara, her mother in exile, her mother’s death and explaining that she was the daughter of Herod? The effect on her, wanting revenge? Deran, his petty character, horse riding, jealousy of Voldi, his father, inheritance? Farrar and her love of Voldi, the gift of the horse, riding? Her decision to leave?
6. The kingdom, the King, Herod’s wife and her being discarded, her daughter? Deran and his weak character? Voldi and his strong character? The King, Voldi and the commission to go to find Fara? The death of the King and Deran’s accession?
7. Fara, disguised as a boy, travels, the dangers, rescues? With Peter, his shelter? Her work for Herod, posing as a Greek scholar, the sequence of her learning Greek with her tutor? Readings of prophecies to Herod? The plans? Listening to Jesus, his influence? Not believing? Voldi’s arrival? The plan, going for revenge, Peter taking her? Her return? Deran and his paralysis, Peter curing him? Voldi and his hopes? Self-sacrifice and Fara sailing way with Peter?
8. Deran, weak character, love for Fara, the death of his father, his paralysis, his wanting to be healed, the cure, with his mother, turning against her, his saying he could walk by himself? The pursuit of Voldi? Standing on the cliff, his collapse?
9. Voldi, his father, his place in the kingdom, love for Fara, searching for her, rescue, his helping the Roman Centurion, under house arrest, the friendship, but his escape? The pursuit? Finding Fara, Peter, the return? Confrontation with Deran?
10. The voice of Jesus – formal, abstract, preaching rather than action, his not being seen except for hands touching? The old English vocabulary and phraseology? The impact for a 20th century audience – and the reinforcement of Jesus as belonging to the past, language, the good message but the artificiality of this presentation?
11. The preaching of John the Baptist, Herod, radius against him? The party, the official guests, the silhouette behind the screen, the dance, the beheading of John the Baptist, his head on a dish?
12. The film in comparison with other biblical epics?
