Sins of Jezebel (1953)

1953 was perhaps the year that more hokey Bible films got made than any other. Sure there was The Robe (although some would say that was evidence enough), but it also saw the release of Salome, Slaves of Babylon, Queen of Sheba and Sins of Jezebel. The Robe aside, it's immediately obvious that these other films revolve around an exotic leading lady. As is so typical of the genre, it's difficult to work out whether the film is really about sex or saintliness.

Anyone hoping that Sins of Jezebel was about the former rather than the latter will come away very much disappointed. The film never lives up to the tacky allure of its title. True, leading lady Paulette Goddard was the girl who had stolen Charlie Chaplin's heart, but that was twenty years before this film's release. By the time Jezebel was playing in cinemas the girl was now very much a middle aged woman whose career was fading rapidly.

For an actress who was so closely associated with Chaplin's iconic figure 'The Tramp', and co-star in his best known film, The Great Dictator, Jezebel marked a new low. Whilst she's supposedly at the centre of a love triangle, neither of her leading men look particularly interested. Furthermore, the film is so pious that Goddard has little more to do than deliver the cheesy dialogue in the hope that someone might notice her flutter her eyelids.The film itself seems like a halfway house between a Sunday school film and a DeMillean biblical epic. At times it seems like a lost episode of The Living Bible series: it's awfully preachy, features lamentably wooden acting and tea-towel grade costumes. Elijah marches on and his whole manner is reminiscent of that particular series' portrayals of Old Testament heroes.

In other places, though, it borrows from Samson and Delilah. I've already mentioned the love triangle, but the extremes with which the plot goes to to make this happen and the way jealously becomes the motivating factor for the femme fatale's actions, which then spurs the plot on is straight out of the 1949 classic. There's much earnest grabbing of arms and starring deep into one another's eyes, and the nagging sense that even if the Bible didn't exist, substantially the same film could still have been made.

But there's also an interesting relationship between this film and a later DeMille film, which just seems a little too coincidental. The film opens with someone narrating the creation story from Genesis 1. As this progresses it becomes apparent that this opening shot is a close up on a painting, which the camera then pans across to illustrate the story. When the story has reached its climax the camera zooms out and a man in a suit and clerical robe steps into the frame to deliver a speech. He talks about the Ten Commandments, and Israel's idolatry, and as he does so he paces around, pausing momentarily by models of Moses's stone tablets or a model idol.Anyone familiar with DeMille's 1956 version of The Ten Commandments will recognise this sequence right away. That film starts with DeMille stepping out from behind a curtain to address the audience at length, and had initially been publicised by a ten minute trailer where DeMille strolled around his artefact-laden office.

This character soon gives way to the opening credits which after a brief establishing shot of Ahab's palace moves inside to focus on an angry Elijah. The film is keen throughout to underline the link between these two preachers. Not only are they linked by this sequence either side of the credits, but also in the film's closing moments. There the modern day preacher announces that "there will always be the voice of an Elijah ... and when he is done he shall pass on his mantle to another". As he turns to leave he picks up a walking stick which bears an uncanny resemblance to Elijah's staff.

The portrayal of Elijah is somewhat bombastic. There is little of the biblical character's humanity that is so skilfully illustrated in Kings. Indeed the entire sequence where he prays for his own death before hearing God speak afresh has been chopped. All this Elijah really does is stride on and off screen chastising his countrymen. It's hardly a surprise, then, that the film comes off like St. Paul's clanging bell - a one note production that is shiny on the outside but empty on the inside - it's as devoid of subtlety and comprehension of it's audience as its hero.The film's other main hero is Jehu, and by contrast his character's narrative arc is more interesting. Initially close to Ahab, he turns his back on his pious girlfriend for Jezebel, only to rebel against both her and Ahab towards the end of the film, and take a band of followers into the mountains. There, Jehu is anointed (by Elijah not Elisha as Kings has it), and returns to capture the city.

There are a handful of changes to the biblical narrative. Chief amongst them is Elijah's conflict with the prophets of Baal on Mount Carmel, where the contest is ultimately about who can make it rain, rather than who can bring down fire from heaven. It also conflates Obadiah and Naboth which works well and gives the film it's most interesting character.

Overall, though, this is the only feature length version of this story that is available on DVD, and whilst it's not particularly well done, it's noteworthy for its apparent influence on DeMille's 1956 version of The Ten Commandments. There's a scene guide below. As there's a lot that extra-biblical so it's not that long.

Creation & Preacher's intro - (Gen 1 & 2)
Ahab prepares to marry Jezebel - (1 Kings 16:31)
[Extra-Biblical Episode]
[Extra-Biblical Episode] - Ahab and Jezebel marry
Ahab builds Jezebel's temple - (1 Kings 16:32)
Elijah predicts a drought - (1 Kings 17:1)
[Extra-Biblical Episode]
Contest on Mount Carmel - (1 Kings 18:16-40)
[Extra-Biblical Episode]
"Naboth" confronts Jehu - (1 Kings 18:13)
[Extra-Biblical Episode]
Naboth tried and killed - (1 kings 21:1-16)
[Extra-Biblical Episode]
[Extra-Biblical Episode]
Elijah confronts Ahab - (1 Kings 21:17-24)
Death of Ahab - (1 Kings 22:29-38)
Jehu Anointed - (2 Kings 9:1-13)
Jehu kils Jezebel - (2 Kings 9:30-37)
[Extra-Biblical Episode]

More 2 Kings Films

Back in February, I made two posts discussing films that are based on material from 2 Kings. Shortly afterwards I decided to go ahead and order Sins of Jezebel to see what exactly it covered. I figured it might make an interesting post if nothing else. In the meantime, WitlessD found out some details about some, more obscure, films that are on parts of Kings, and emailed me the details, and Peter Chattaway also discovered a film due for release that might also touch on this material.

Unfortunately I decided to delay posting more until Sins of Jezebel, and, sadly, it didn't arrive until yesterday. Furthermore, having had a quick scan it appears it's very much based on Elijah and 1 Kings rather than the second part of the book. So I probably should have posted this a month or two ago, but better late than never I suppose.

The first film is a five part mini-series from Brazil called O Desafio de Elias (The Challenge of Elijah) by Rede Record and VMT Produções. It was directed by Luiz Antônio Piá based on Yves Dumont's screenplay. It aired on 5 consecutive nights on Brazilian TV back in 1997 (22-26 December). Guilherme Linhares played Elijah, Adriana Lessa (pictured above) as Ninra, Othon Bastos as Ahab and Sônia Lima as Jezebel (pictured below). WitlessD also sent me a description which I've had translated.

The struggle of the prophet Elijah for the word of the God of Israel. It's around the year 850 BC and Elijah antagonizes King Ahab. Ahab is married to the flirtatious Jezabel, and influenced by the queen's construction of a temple to the false god Baal

A year later Lima and the same producers, director and writer created a 10 part Esther mini-series A História de Ester.

Then there have been two versions of Racine's 1691 play 'Athalie' (based on the story of the idolatrous Athaliah from 2 Kings 8&11 / 2 Chronicles 22&23). The first version, Athaliah, Queen of Judah, was filmed by Pathé Frères in 1910 and a couple of reviews of it remain to this day. Firstly an issue of The Bioscope dated 25 August 1910 (p.29):

Athaliah, Queen of Judah, has gained the throne by the destruction of all the royal princes. Unknown to her, a tiny babe has been saved by Jehoiada, the priest, and brought up by him in the Temple of Jerusalem. Seven years pass and the people, weary of the tyranny of their cruel Queen, plead to God for a miracle in the form of the coming of a son of David.

Athahiah has become a worshipper of Baal, and two of the priests of Baal are seen endeavoring to persuade her to destroy the Sacred Temple. But Athaliah dismisses her advisers and falls a prey to remorse and visions in which Joash, the new child king, appears to her. Athaliah resolves to satisfy herself as to the truth of the rumors of the existence of a royal prince. She goes to the Temple and finds herself within its sacred walls at the moment a sacrifice is to be made. Jehoiada drives her out, and the Queen decides to question Joash. Joash is unable to answer her questions, but his features convince Athaliah, and she decides that she must regain her power by arms.

In the next scene we see he leading her warriors to the assault of the great Temple. She demands admittance, and the High Priest, allows her to enter alone. He has a curtain drawn aside and Athaliah sees before her the new King, seated on a throne, and surrounded by his adherents. She springs forward, but at the cry of the priest, hidden soldiers rush forward and force her backwards out of the Temple. Outside the people have gathered to acclaim the new ruler promised them, and Athaliah cries out for their allegiance. Their only reply is silence, which changes into cries of joy as Joash appears before the Temple, and as the queen rushes forward a thrust from a spear ends her life.

The film is well staged, and carefully treated, and the numerous sub-titles clearly explain the story.

The other review was written by Georges Fagot for the 8th October 1910 edition of Ciné-Joumal, (No 111). Again this is a translation:

We have just seen the most perfect film that has, so far, been presented by cinematography, Athalie, directed and adapted by Mr. Michel Carré one of the most famous authors of the SCAGL ... An ingenious adapter and clever director Mr. Michel Carré was well qualified to be the chef-d’ceuvre-Racine, as illustrated by this film version from La Série d’Art Pathé Frères (original name for Pathé Frères

Shooting began on 11 May 1910 and the film was released in Paris on 7th October 1910. The film was 410m/1352ft [361color].

The second, Atalia, was an Italian TV version transmitted on RAI 2 in 1964. The cast included Lilla Brignone (Athaliah) and Roberto Chevalier (Jehoash). It was directed by Mario Ferrero, and aired on RAI2 on the 13th May 1964 (my birthday). Whilst it looks lie a few copies of the 1910 film remain the 1964 version was apparently wiped just a year after its release.Finally, Will Smith is due to star in The Last Pharaoh - which is actually going to be about Taharqa the last Pharaoh of the 25th Dynasty rather than Cleopatra (because that would be really strange). And, as Peter Chattaway points out, that might feature an appearance from Hezekiah and the events of 2 Kings 19 and Isaiah 37

There is an interesting connection between Taharqa and the biblical history of this period. Scholars, it seems, have said that Taharqa may be the same person who is referred to in II Kings 19 and Isaiah 37 as "Tirhakah, the Cushite king of Egypt" -- a figure who is mentioned simply because he was "marching out to fight" against the Assyrian king Sennacherib while Sennacherib was laying siege to Jerusalem in 701 BC.

Peter also lists some problems with that theory and wonders how the film may treat the different accounts in the Greek / biblical history (if it includes the incident at all).

This post has taken me so long I've now not got enough time to sit and watch Sins of Jezebel. Oh well...

Films About 2 Kings

Through the Bible in Five and a Half Years has got as far as 2 Kings now, and whilst I only show a film clip occasionally, I do like to find a still which I can use for the session's main image. This month, however, has been a bit of a challenge as it appears so few films have been made about events in 2 Kings.

The most popular story - from a filmmaking point of view at least - is that of Elijah. Technically, most of Elijah's story falls within 1 Kings, but volume 2 does contain the closing scenes from his ministry, most notably him being taken up to heaven. But films about Elijah are rare: I'm only aware of three which cover events in 2 Kings and only one of those is a feature length film.

Technically, the first of these isn't even really a film about Elijah, rather it's about his nemesis Jezebel. I've never actually seen Sins of Jezebel (1953), but seems to cover most of the events ascribed to her in the Bible, from her appearance as Ahab's wife in 1 Kings 16, through to her death at the hand of Jehu in 2 Kings 9. I suspect it takes the principles of the sex, sword and sandal epics to an extreme, but one of the commentators at IMDb describes it as a "fairly straightforward retelling of the Bible story". Production values, however are reported to be low, but then it was filmed in 3 days on only a $100,000 dollar budget.By far the best that I've seen is the Elijah entry in the Testament: Bible in Animation series. It's hand drawn, but highly stylised, animation accompanied by operatic sound courtesy of Bryn Terfel, and the BBC National Orchestra / Chorus of Wales. I've discussed this film before, but I'm struck on this occasion of how Elijah reminds me of a younger Brian Blessed.

The other Elijah film, which I have also discussed before is Elijah, a Fearless Prophet from the Living Bible series. Both these Elijah films include his dramatic ascension to heaven, but omit the other main story from 2 Kings where Elijah condemns Ahaziah. I also yet to see Elijah and the Widow of Zarephath (1996), but I suspect from what I've read that it doesn't go as far as 2 Kings. (Neither does the Elijah excerpt from Friends and Heroes FWIW)

Elijah's servant and successor Elishah has faired even worse. Whilst he does get a bit part on those Elijah films, there's only two "films" where he plays a more leading role. The first is The Son of the Shunamite from way back in 1911. It's described as a classic horror film, where Elisha raises the widow's son.There's also a more recent cartoon which covers the story of Elisha and Naaman. Riding for a Fall is part of the Bugtime Adventures series. As far as I'm aware it's the only version of Naaman's story. Quite where the bugs fit in is, at present, beyond me.

However, it's the middle part of Kings where there is a real paucity of film coverage. As far as I'm aware there isn't a single film which so much as touches on anything between the end of Elisha's ministry and the beginning of the events leading up to the fall of Jerusalem. Because that incident was so significant it spills over into other stories, particular those of Jeremiah and Daniel, and so there are a couple of films which deal with these events.Slaves of Babylon was released in 1953, the same year as Sins of Jezebel, which, given the general shortage of films touching on 2 Kings, is quite surprising. It starred Richard Conte and Linda Christian as two fictional characters Nahum and Princess Panthea. The most well known 'biblical' character is Daniel who doesn't actually feature in 2 Kings. I now realise that I missed this film out of my recent look at films about Daniel. For those who are interested there are a good number of photos from this film available here with some original pictures and a poster also available on eBay at the moment.

Finally there's Jeremiah from The Bible Collection which is where I got the heading image (and the one I ended up using). I've been an admirer of this film ever since I first saw it. Whilst the Bible Collection's insistence on bringing a romance element into every story they handle is present here as well, it's less of a distraction, and doesn't detract from the fine work by Patrick Dempsey in the lead role. It's main achievement is highlighting sufficient narrative to make an interesting plot, whilst including enough prophecy to make the exercise as a whole worthwhile. In contrast to Slaves of Babylon, however, the fall of Jerusalem occurs at the end of the film rather than at the start.

Elijah, A Fearless Prophet

Having reviewed the Testament - Bible in Animation version of Elijah a couple of weeks ago, I wanted to have a look at 1958's Elijah, A Fearless Prophet.

Introduction to Elijah & Ahab - (1 Kings 16:29-34)
Elijah predicts drought - (1 Kings 17:1)
Elijah and the Ravens - (1 Kings 17:2-6)
Elijah and Widow of Zarephath - (1 Kings 17:7-24)
Elijah and Prophets of Baal - (1 Kings 18:1-2, 16-40)
End of the Drought - (1 Kings 18:45-46)
Elijah on the mountain - (1 Kings 19:1-18)
Elijah calls Elishah - (1 Kings 19:19-21)
Elijah taken to Heaven - (2 Kings 2:1-14)

Notes
The first thing to note is how similar the scene selection is to the Testament version. This is largely because the biblical material on Elijah is fairly small. But it is also noticeable that both exclude the incident with Obadiah, both exclude the incident where Elijah sends his servant to search for the clouds, both omit Elijah's marathon run ahead of Ahab's chariot, and both omit Fire from heaven burning two of Ahaziah's captains. Yet neither show Jezebel or Ahab's deaths (1 Kings 21-22, 2 Kings 9)

These exclusions are fairly significant in two ways. Firstly, they give Elijah the human qualities that are so central to his character. Elijah's hopes for the ending of the drought as he yearns for even the smallest indicator of its end. Elijah's breakdown and his complaints in 1 Kings 19:4&10 that he is the only prophet of God left, should be seen in this context. Firstly, Obadiah has already told Elijah that he has saved many prophets. Secondly, Elijah hits this low, not only after a major spiritual confrontation, but also following a run from Carmel to Jezreel (which, I believe, is about 20 miles), following a sever drought. It's no surprise given the exhaustion Elijah must be feeling that he hits such a low, and is unable to see things clearly. By excluding these two incidents both films paint his breakdown in a fairly positive light, and indeed, in both scenes Elijah seems neither that shattered or particularly suicidal.

Secondly, it exorcises the more troubling aspects of the story. The slaying of the prophets of Baal takes place off screen. The incident with Ahaziah's captains is excluded entirely. The grisly death of Ahab despite God's promise to avert the disaster he prophesied earlier. Even the notion of sending a slave/servant up and down a mountain numerous times is fairly offensive to modern sensibilities.

One additional, minor, similarity is that both films keep the material in the same sequence as the biblical accounts, and truncate it at roughly the same point. That said this film does not include Elijah and Elishah parting the waters.

In contrast to the Testament film, which used expressionist animation to potray the imposing nature of Ahab and Jezebel, this film downplays their significance. Whilst they are clearly still the prime "troublers of Israel", their appearances are fairly fleeting, and the amount of dialogue both speaks is significantly abridged from the biblical text. The concerns of this filmmaker is much more the person of Elijah, and his role in "fearlessly" following God and doing what he is told.

Finally, this film really dwells on Elijah dousing the sacrifice on Mount Carmel with water. This is shown in the Testament version, but here it's shown in some detail. Strangely the sacrifice here is totally obliterated, along with the wood and the actual stone altar. Surprisingly, this is actually following the biblical text to the latter at this point.

Testament: The Bible in Animation: Elijah

Elijah has always been one of my favourite characters in the Old Testament. There’s just something about the way he sees his God do incredible things, and yet there is a frail insecure humanity about him that makes him easy to relate to. It’s a shame, therefore, that his story has largely been neglected by filmmakers. I’m aware of only four versions of the story: Sins of Jezebel (1953), Elijah - A Fearless Prophet from the “Living Bible Series” (1958), the Latter Day Saints version Elijah and the Widow of Zarephath (1996) and this entry in the “Testament: Bible in Animation” series, simply called Elijah (also 1996). IMDB gives two other possible films, but has no information other than their years.

As a whole, the series is animated using a whole range of different techniques, most of which are very expressionist, few of which sit simply as just “cartoons” (see posts on Jonah, Ruth). Elijah is no exception. Eschewing attempts to create life-like illustrations of these characters the animation is again highly stylised. Elijah looking like Atlas, Ahab wide and squat, Jezebel tall and decorated. This is not animation just for kids.

Another unusual feature of this film is the soundtrack. Most 30 minute cartoons maybe have a silly song or two to break up the story. Elijah, on the other hand, realises the epic nature of it’s material, and enhances the towering images on the screen with operatic music performed by the BBC National Orchestra of Wales and the BBC National Chorus of Wales. Elijah’s solos are performed by Bryn Terfel (as opposed to David Schofield who voices his speech).

The film depicts nearly all of the biblical material concerning Elijah as can be seen by looking at the following scene guide.

Intro to Ahab - (1 Kings 16:29-34)
Death of the prophets - (1 Kings 18:4)
Elijah predicts drought - (1 Kings 17:1)
Elijah and the Ravens - (1 Kings 17:2-6)
Elijah and Widow of Zarephath - (1 Kings 17:7-24)
Elijah and Prophets of Baal - (1 Kings 18:1-2, 16-40)
End of the Drought - (1 Kings 18:45-46)
Elijah on the mountain - (1 Kings 19:1-18)
Elijah calls Elishah - (1 Kings 19:19-21)
God declares Judgement on Ahab - (1 Kings 21:17-21)
Elijah taken to Heaven - (2 Kings 2:1-14)

The only episode missing from the film then is Elijah’s meeting with Obadiah in 1 Kings 18:3-15, although Elijah getting his servant to climb the mountain in search of a rain cloud is also excluded. The screenplay does also subtly add some useful pieces of historical information such as the fact that Baal was god of the rain, or that the widow of Zarephath hailed from the same place as Jezebel herself. It also illustrates the slaying of the prophets of God, which is only referred to in the text (1 Kings 18:4), but acts to provide a good context for the stories that follow.

Another note the film adds is when Elijah calls Elishah from his father’s fields. Elishah’s father tells Elishah he is due a double portion of his inheritance, and this is obvisouly still in Elishah’s mind when shortly afterwards he asks his spiritual father, Elijah, for a double portion of his blessing instead.