The last major Jesus-focused film of the silent cinema era was Cecil B. DeMille’s 1927 release “The King of Kings.” The production offered heaping servings of DeMille’s vices and virtues as a filmmaker: an astonishing sense of visual spectacle and the uncanny ability to make an epic move at a swift pace, coupled with a bizarre sense of dramatic puerility laced with the obsessive need to improve upon holy source material with old-fashioned vulgarity.
Continue reading
