THE GREAT COMMANDMENT
US, 1939, 81 minutes, Black and white.
John Beale, Morris Moskowitch, Albert Decker, Marjorie Cooley, Lloyd Corrigan, Warren Mc Collum, Ian Wolfe.
Directed by Irving Pichel.
In 1939 Rev. James K.Friedrich produced The Great Commandment, an 80 minute feature set in 30 AD and focusing on life in a small village ‘between Jerusalem and Jericho’ which was a centre for Zealots. It was directed by Irving Pichel and starred some Hollywood actors including John Beal and Albert Dekker. The American accents make the film seem too contemporary for non-American audiences as does some of the dialogue (‘Is this your idea of a joke?’). The musical score sometimes aniticipates the scores of Miklos Rosza for King of Kings. The film plays like an effective costume drama of the 1930s.
The initial information is about Pilate, his oppressive laws and imposition of taxes. The focus is on two brothers, one a hothead who wants revolution now and dies for it, the other a student of the scriptures under his authoritarian rabbi father who is looking for a strong leader. When he hears of Jesus, he imagines that he will have an army and rid the country of Romans. He journeys to Galilee, meets Andrew and listens to Jesus (especially texts from Matthew about taking up one’s cross as well as the Beatitudes). Jesus also heals a blind man. When Joel offers his sword and allegiance, Jesus tells him that those who live by the sword will perish by it. Befriended by Judas who persuades him that Jesus could be talked into revolt, he returns to his village where his father, sceptical and sneering asks about the greatest law and is answered by the parable of the Good Samaritan. This has a profound effect on Joel who, after the Romans massacre the zealots, puts Jesus’ teaching about loving enemies into practice by tending to the wounded centurion. The village is spared while Joel is interned for his own safety. When the centurion comes to free him, he has just put Jesus to death and is amazed that his life was saved by a disciple of the man he had crucified.
There is a romantic sub-plot which, after some tangles, leads to a happy ending. Jesus is not seen on screen. Rather, his preaching, healings and his parable are voiced off-screen by director Irving Pichel, because Joseph Breen of the Production Code raised difficulties with a full-on presentation of Jesus. Although made only twelve years after De Mille, it shows the strength of cinema techniques developed during the 1930s and is more akin to the 1961 King of Kings. Jesus has a strong and dignified enunciation (with the use of ‘thee’ and ‘thou’ language) and, although he is present only after an hour of the film, he and his message make an impact. The film was released in 1941.
1.A film of 1939? The cinema styles of the 30s? The transition from silent films? Accomplished film-making?
2.The sets, the Judean village of 30AD? The houses, the inns? The desert countryside? The musical score? The biblical rousing score?
3.The title, the focus on Hebrew law, the challenge of Jesus, the great commandment of loving one’s neighbour? The use of the parable of the Good Samaritan? The telling point for Joel’s experience and conversion?
4.The introduction, the information about Judea, the Zealots, revolution, the oppression of the Romans, the extra taxes, Pontius Pilate? The centurion, the soldiers, the occupation, gathering the village people, the demands for more taxes? The tax collectors and their sinister behaviour? The credibility of the Zealot revolt?
5.The Zealots in the village, Joel and Zadok, the different perspectives for action? Their father as the rabbi? His upholding the law? Zadok and his followers, wanting to move into action? Joel and his caution? Looking for a leader? The news about Jesus? Joel and his wanting to go, his meeting Jesus, listening to his message, his wanting to give his sword to Jesus? His change of heart?
6.The love story, Joel and Tamar, neighbours, their ordinary lives? Joel and his studies, his heart not in them? The fathers, the meeting, their discussion, bargaining about the dowry? Lamech and his decision that Zadoc should marry Tamar? His delight? Joel’s disappointment? His talking with his brother, defying his father? The meetings with Tamar, their talk, plans for marriage? His wanting to leave, Tamar and the clash with her father, wanting to go with him? His going alone?
7.The centurion, the treatment of the people, his sore feet and Joel’s advice about the water? The later repercussions? The centurion, his assistant and wanting to destroy the people? His careful response? Joel and his tending his wound? The village and their turning against Joel? The arresting of Joel, in prison, the centurion coming to see him, arresting him for his safety?
8.Joel and his going to Galilee, the first encounter with Jesus, the voice of Jesus, his words? Meeting Andrew, discussing with him? Witnessing the healing of the blind man? Listening to other teachings? Offering his sword, Jesus refusing? Judas and his approach? Giving advice? Wanting to change Jesus’ mind? The return to the village?
9.Lamech, the rabbi, his devotion to the law, teaching his son, the arranging of the marriage, his disowning Joel? His sneering at the news of Jesus? Jesus’ arrival in the village, his asking him the question about the law? Listening to the parable of the Good Samaritan?
10.The uprising in the town, the death of Zadok? Lamech’s grief? The hostility of the people towards Joel?
11.Joel in prison, the centurion, the news of Jesus’ death? The centurion and his amazement, his life being indebted to the teaching of the man whose side he had pierced? His arranging for Tamar to come to the prison, the freeing of Joel?
12.The happy Hollywood ending?
13.The portrait of Jesus, verbal? The decision not to show Jesus? The camera eye point of view? The dignity of Jesus’ words? A teacher rather than personalised? A perception of Jesus from the 1930s?
