DAY OF TRIUMPH

US, 1954, 110 minutes, Colour.
Robert Wilson, Ralph Freud, Lee J. Cobb, Joanne Dru.
Directed by Irving Pichel.

Day of Triumph is an offbeat biblical film of the early '50s. The tradition for presenting Jesus on film was that of the popular art of the 19th century. This tended to be sentimental and romantic - even kitsch. The early silent films tended to perpetuate this treatment of Jesus and lead audiences to expect it. With the '30s, there was a greater reticence in the presentation visually of the person of Jesus. While Cecil B. de Mille had used H. B. Warner for King of Kings in 1927, in subsequent films Jesus was merely glimpsed or his presence suggested (e.g. The Robe from the same year as Day of Triumph). It was only in the '60s with King of Kings, The Greatest Story Ever Told and The Gospel According to Matthew that Jesus was once again presented. The most cinematically acceptable actor portraying Jesus was Robert Powell in Zeffirelli's Jesus of Nazareth. Here Robert Wilson portrays Jesus fully - quite well at the beginning with a certain strength and ruggedness. As the film moves towards the Passion and Resurrection he becomes more stolid and stilted (perhaps considered by the producers 'holy').

As with Jesus Christ Superstar, Jesus does not appear centrally but the emphasis is on Judas. With the background of the Zealot movement in Palestine at the time of Jesus, Judas is presented as a Zealot and his betrayal of Jesus a device to trigger off a Zealot revolution. This is certainly an interesting interpretation of Judas - who is presented
generally sympathetically.

The film was co-directed by Hollywood actor-director Irving Pichel, music composed by Daniele Amfitrioff and the film features Lee J. Cobb as Zadok. Joanne Dru as Mary Magdalene and Lowell Gilmore as Pontius Pilate. A blend of the expected celestial chorus piety with some vigorous sequences of Jesus and of the times of the origin of the New Testament.

1. The impact of this film within the tradition of films about Christ? Audience expectation of biblical spectaculars? The biblical images and iconography of the 19th. century - sentiment, romance? Humanity of Jesus, divinity? The silent tradition? The holy tableaux, the celestial choirs and music? The Cecil B. de Mille tradition? Action, the suggestions of the presence of Christ? Did this film fit into the tradition? Differences?

2. Production values? As propaganda for religious groups? The Hollywood contribution? Colour photography, atmosphere, recreation of the period and place? The musical score? The contribution of the Hollywood stars?

3. For what audience was the film made? Americans? Christians? Why? As a picture of Christ, as human, as divine, his mission of salvation? Impact, achievement, death? Christianity and its origins? A blend of the entertaining and edifying?

4. The dramatic interest of the Zealot framework? The invention for the Zealot story and situating biblical characters? The introductory information? The presence of the Romans, the initial chase? The flashbacks to the story of Jesus from the perspective of the Zealot storytellers? Zadok's point of view, Andrew's? The intermingling of material from the New Testament with fiction? The importance of the political tone? The selection of characters and events from the gospels as related to the Zealot movement? The focus on Judas and Barabbas? Jesus perceived in the context of the Zealot revolution?

5. The portrait of Jesus: the actor portraying him and visualised (in contrast with so many other films of the '50s)? Strength? Emotional? His manner, presence? His dress? The relationship to statuary, holy cards? The vigour of the early Jesus, the strength of his telling of parables and reciting of familiar material? His growing more solemn during the Passion and Resurrection sequences? How credible a Jesus? How edifying? The selection of Gospel events: calling of the apostles to be fishers of men, the disciples following him, the choice of the twelve, healing stories, the recitation of the Beatitudes, the treasure in the field, parables, the encounter with Mary Magdalene, the woman who was the sinner in the city at Simon's banquet, the visit to Martha and Mary and Martha's fussiness, the learning of the Our Father, the raising of Lazarus from the dead?

6. The proportion of the film of the Passion and the Resurrection: the entry into Jerusalem on the donkey, the greeting of the crowds, Jesus weeping over Jerusalem, the reactions of Annas and Caiaphas, the cleansing of the temple? The focus on the Last Supper, the dismissal of Judas and his being identified as the traitor, the Eucharist? The agony in the garden and the sleeping disciples? The encounters with Annas and Caiaphas, the long sequence with Pontius Pilate? Jesus as suffering - 'Behold the man'? The transition to Calvary, the criticisms of the thieves? Jesus' thirst, his death - and the accompanying storm? The atmosphere of the Resurrection and Jesus' appearances?

7. The use of Scripture texts for edification, adding contemporary dialogue to familiar biblical phrases? The creativity in the screenplay as differing from a mere fundamentalistic interpretation? The fictional narrative and audiences supplying their own knowledge? Jesus as a Gospel figure - and as a potential Zealot?

8. The Zealot group: Zadok as leader, Judas as an important man in the movement, his contacts, hopes, plans? The decision of John the Baptist and seeing him at the Jordan and his arrest? His wanting Jesus as leader? Zadok's plans and his not wanting to see Jesus? The possibilities for Jesus' role - long term and short term? The response to the entry into Jerusalem and the arrest? Zadok not wanting to act? His final speech about the significance of Jesus?

9. The sketch of the apostles - very subdued compared with other biblical films? Andrew and his Zealot contacts, the choice of the twelve, a few scenes with Simon? John and the others not being significant?

10. The focus on Judas as central? Shrewd Zealot, his ability to analyse situations, a sympathetic character? The failure of the Baptist and the hopes with Jesus? Interpreting his words, seeing the effect on the crowds, the miracles? The irony of his being chosen - unsuspecting? His being trusted with the purse? Contacts, using Jesus? His power, becoming more fanatical? Wanting action? The exhilaration of the entry into Jerusalem and then his depression? The plan for the arrest, the going to Caiaphas, taking the money? Everything going wrong and Zadok not moving? His giving the money back - and the failure of his mission and therefore his hanging himself?

11. The focus on Mary Magdalene, her watching Jesus, her wealth, the suggestions about her profession, her maid and the discussions about wealth? Her taking the ointment and anointing Jesus' feet? Jesus rebuking Simon (who was a plant by the High Priest)? The parable of love and concern? The Magdalene being touched, repenting, present at the raising of Lazarus, at the Crucifixion?

12. The sketch of Annas and Caiaphas and their pro-Roman stances, having spies, deals, pressure on Pilate, rousing the crowds to ask for Barabbas?

13. The portrait of Pontius Pilate, the Roman governor, his suspicions of the Jews. his meal and his wife. not wanting to fall into the tricks of Caiaphas? With the Jews? Trying to release Jesus instead of Barabbas? The discussions with Jesus (and the texts from John's Gospel)? The torture, Jesus' suffering, his washing his hands?

14. The final impact of the visuals - moving more towards accustomed holy card style and 19th. century spirituality?

15. The title and its reference to the Zealots and their hopes, to the triumph of Jesus transcending the expectations?