Solomon and Sheba

“It is said that Solomon is wise. But no matter how wise he may be, he is still human, with a human weakness. Solomon and Sheba is directed by King Vidor and collectively written by Anthony Veiller, Paul Dudley, George Bruce and Crane Wilbur. It stars Yul Brynner, Gina Lollobrigida, Marisa Pavan, George Sanders, David Farrar, Harry Andrews, John Crawford and Laurence Naismith. Music is by Mario Nascimbene and cinematography by Fred A. Young. A fictionalised screenplay cribs from parts of the Bible, where the story here follows the relationship between Solomon of Israel and the Queen of Sheba, a problem because initially Sheba is in league with Israel's enemy, Egypt. All that and Solomon has to deal with his nefarious brother, Adonijah, who is a little miffed that Solomon has inherited the crown of Israel. Famously it was the production that saw the sad death of the leading man, Tyrone Power, while Vidor was so disillusioned about the whole film he quit making feature length films. It's a very mixed bag, very much showing the good and bad sides of the big historical epics that dominated Hollywood back in the day. In part it's a grandiose melodrama, in others it's cheap looking and given to campy histrionics (the orgy operatics sequences are just awful), while the screenplay jostles with itself as to being biblical blarney or potent pontifications. Costuming and colour photography smooths the eyes, but then the optical nerves are shredded by set design so poor a child making paper mache boulders could have done better. The cast are also in and out, Brynner is fine as Solomon (broody, brainy but troubled), as is the lovely Lollobrigida (stoic, smart and sexy), but the support slots barely convince. Sanders is badly miscast as Solomon's warrior brother Adonijah (he was 53 at the time), 10 years earlier in Samson and Delilah his villain turn worked, but not here. Sword fighting choreography is poor, as are the miracle effects work, but conversely the big battle that crowns the story is smart in writing and in execution, where not even the model work can dim the thrill of it all. Released in the same year as "Ben-Hur" obviously does it no favours by comparison! But then so many other big swords and shields epics would also struggle as well. Vidor's movie is just above average in the genre pantheon, but the faults are irritable and hardly render it as a must see film for genre enthusiasts. 6/10”