Revisionist Almanac 1956 Guest Podcast

 

It's very exciting to be part of other podcast ventures and appearances! After taking part in The Revisionist Almanac Let's Get Spooky Collab last year, it was my turn to take part in The Almanac's 1956 episode. See and Hear as at long last I rectified the award wrongs for The Searchers!

Thank you Andrew for inviting me to take part! With all the terrible things happening recently, it's a comfort to know my voice has meaning – even if it's in a tiny capacity talking about the movies we love.

You can also pick up some @RevAlmanac swag, but my cat photobombed my show and tell attempt! 

Follow our Podcast tag for more and revisit previous guest appearances:

Greatest Movies of All Time – Ben-Hur

Making Tarantino – House of Dark Shadows and Frankenstein Must be Destroyed

The Lone Screenplay Nominee – Stand by Me

Top Ten: Westerns!

Welcome to our new Top Tens series in celebration of I Think, Therefore I Review's Tenth Anniversary! These monthly lists will highlight special themes and topics from our extensive archive of reviews.

This time I Think, Therefore I Review presents in chronological order...

Our Top Ten Westerns!

Yellow Sky

Duel in the Sun

River of No Return

The Searchers

The Big Country

Sergeant Rutledge

Westworld

The Man from Snowy River

Dust

Bone Tomahawk

Enjoy our western label for yet more!

I Think, Therefore I Review began as the blog home for previously published reviews and reprinted critiques by horror author Kristin Battestella. Naturally older articles linked here may be out of date and codes or formatting may be broken. Please excuse any errors and remember our Top Tens will generally only include films, shows, books, or music previously reviewed at I Think, Therefore I Review.

Mid-Century SF Adventures!

Mid-Century Science Fiction Adventures!

By Kristin Battestella

The budding sciences of the sixties and beyond may seem bemusingly simple to us in the seemingly so sophisticated twenty-first century. However, these mid-century science fiction delights remain classic adventures of space, science, and technology for the whole family.

Fantastic Voyage – Stephen Boyd (Ben-Hur), Raquel Welsh (One Million B.C.), and Donald Pleasence (Halloween) take this 1966 microscopic, heart-stopping adventure full of wondrous snap, crackle, pop mid-century science – what could possibly go wrong? The technical talk, quick debriefing, dated military missions, political intrigue, and seemingly aimless golf cart tours through the clean, blue and white streamlined designs are perhaps slow to get going today. Some waxing philosophical or poetic soul and creator versus science talk amid the medical jargon feels like old hat exposition, too. The procedural scenes also seem more like an awe-inspiring museum demonstration, and a crowded inside and too many anonymous, unnecessary people outside at control creates confusion. Fortunately, all this build up smartly puts an unbelievable situation in the realm of the then possible. Although the whole mission seems totally impractical and perhaps causes more damage than the operation at hand, the wild journey along the way forgives the rushed ending or any plausibility issues. The models, miniatures, and visual effects look dandy and remain decidedly charming, and nostalgic body system graphics, paper overlays, and Morse Code add simplicity to the high tech while a real time ticking clock ups the claustrophobic tensions and medical perils. Colorful plasma, bubbles, tubes,and pink pustules bring the titular spectacles to life along with a variety of sounds, laser lights, attacking antibodies, psychedelic mosses and even gross scales. It's an interesting mix of submarine, under the sea currents and exiting outside the airlock space. So what if it's all totally unrealistic – the young at heart and science minded kids can still enjoy the wonderment here.

Marooned – Gregory Peck (To Kill a Mockingbird), David Janssen (The Fugitive), James Franciscus (Beneath The Planet of the Apes), Gene Hackman (The French Connection), Richard Crenna (The Real McCoys), and more stars anchor this 1969 NASA nail biter. Real footage from the Apollo heights and of the time mission control look great without the need for abundant CGI and special effects as we know them today. There aren't that many sets either, allowing for tense action at home and claustrophobic capsule hysteria as one thing after another spells disaster – retro rockets malfunctioning, low fuel in orbit, hurricanes over the Cape, daring rescues in experimental craft, and precious, precious oxygen running out. Though slow to start and at times tedious with minuscule, technical details and procedures; a desperate ticking clock, presidential pressure, wives on the ground, and Russian friends or foes add to the peril. Yes, there is an American mid-century gung ho, yet it's somewhat surprising that such a heavy, all things go wrong picture would be made amid all our spaceflight glory. It's also interesting to see how this film has become both inaccurate and prophetic. They were unprepared for this calamity and thought such accidents would doom the space program, but we haven't progressed much further in the decades since – let alone gotten to Mars, which they talk of as an imminent event. Though the finale feels rushed compared to the slow, by the book, space happenings shown along the way, all the intensity of a modern disaster flick is here along with a then impressive realism. No camera tricks, edgy film making, or punched up orchestration is needed to tell the viewer how desperate the situation is, and with these good looks, classy cast, and yell at the TV entertainment, this one shouldn't be as seemingly obscure as it is.

Westworld – Androids run amok in this 1973 sci-fi western written and directed by Michael Jurassic Park Crichton. Granted, the slow explorations of then-futuristic empty white sets and technobabble gibberish feel like filler; once cool computer monitors and pixelated robot viewpoints need updating. The debut direction is also somewhat simplistic, with of the time slow motion violence and aimless running to and fro amid the shootouts, feasting, brothels, and bar fights. Modern viewers will expect a catastrophic resort meltdown to be, you know, catastrophic instead of a straightforward, one on one tame, and despite a great premise, it's tough to overlook the safety ignorance, preposterous logistics, and an abrupt finale. Guns, swords, mechanical malfunctions – the sex robot models are supposed to be totally detailed yet nobody can perfect the android hands? Fortunately, while there's little character development, we know enough to like cool best friend James Brolin (Hotel), fear the gloriously unyielding Terminator before Terminator was Terminator Yul Brynner (The King and I), and feel for divorced if insipid lawyer in need of a vacation Richard Benjamin (Catch-22). The social possibilities are here, too, from an ultimate vacation where man can have his decadent and violent desires to seemingly in control behind the scenes technicians who eat while they watch the depravity unfold. Suspicious nighttime activity resets the excess while guests sleep unaware, but man made machines or machines making androids in the mirror of men will surely misbehave. Sentience among the robots is also suggested – are they fed up with human seductions and taking matters into their own hands for one destructive hurrah before their batteries fail? Medieval games and Roman hedonism aren't fully shown, but for a $1 million odd budget, the colorful designs aren't bad. The Old West facades provide nostalgia to match the amusing saloon times, creating humor and comfort with over the top tropes. Although the theme is under cooked, this still fairly unique genre twister was ahead of its time and remains delightful for young and old seeking western lite or SF perils.

Anastasia (1956)

Anastasia Remains a Lovely Little Tale

By Kristin Battestella

Granted, we know the fate of the Romanovs was not as hopeful or romantic as the award winning 1956 classic Anastasia makes it out to be – complete with fifties splendor, dashing intrigue, and a whole lot of Cinemascope. However, the what ifs, period charm, and excellent performances here shine nonetheless into the new millennium.

Expatriate Russian General Bounine (Yul Brynner) and his cohorts Petrovin (Sacha Pitoeff) and Chernov (Akim Tamiroff) rescue Anna Koreff (Ingrid Bergman) from the edge of the Seine after her escape from an asylum. Together, the trio intends to capture the inheritance of the rumored to still be alive Grand Duchess Anastasia by presenting an impersonator as the lost survivor. Anna – her past unknown – is likeness enough to the Grand Duchess to proceed, and Bounine educates her to play the part in hopes of impressing the exiled Dowager Empress Maria Feodorovna (Helen Hayes). Only her approval of this Anastasia will legitimize Bounine’s claim and release the inheritance. Anna’s memories about who she really is, however, shows signs that she may indeed be the lost Romanov heir – and Bounine is no longer certain of his mercenary intentions once Anastasia’s former betrothed Prince Paul (Ivan Desny) renews his marital pursuit of the would be Grand Duchess.

Based upon Marcelle Maurette’s play about real life Anastasia pretender Anna Anderson, opening scrolls fill in the back-story on the 1917 Revolution and establish the possibility for Anastasia’s Paris 1928 tale from director Anatole Litvak (The Snake Pit) and writers Arthur Laurents (Rope) and Guy Bolton (Easter Parade). Today we’re tainted by knowing how the history actually turned out, however, Anastasia almost makes you believe. The filming is closer to the interwar period than to us in the in 21^st century, further inspiring our suspension of belief and realizations that Grand Duchess or not it may not even really matter who Anna is. From the proverbial princess training to the limited time window of acceptance, Anastasia tells its story in fine progression but doesn’t give the audience everything. Contemporary spoon fed viewers may not like this opportunity to make up their own minds, and when viewing as kids in the eighties, my sister and I always argued as to whether she isn’t or isn’t the titular Grand Duchess. I’m still not so sure we have a definitive answer, yet the nuanced performances, subtle style, and romantic possibilities make for ongoing rewatchability in spite of the real world facts.  

Sure, the tender old ladies and the swelling music accenting their believing will be overly sentimental for some; perhaps too many grumpy old men contest Anastasia just to make a proving point for her. The audience is quickly caught up in each leg of the approve or disprove, however, and thanks to an appropriately regal European cast, we go along with the unforced chemistry. Anna and Bounine have a rocky start and different motives, but scenes with them shouting at each other from opposite rooms are a headstrong treat. The camera remains focused on the common living room with their open doors on either side, and the wit is allowed to blossom with a play within a play wink. This is, after all, an actress hired for the role, people are pretending to endorse her, and when is their show really over? Anastasia’s conclusion may upset some with its was she or wasn’t she, but this is perhaps one of the most memorable classic film endings. It’s totally fitting and could not have been done any other way.  

Is Anna Koreff merely sick after an asylum stay or delusion that she is the Grand Duchess Anastasia? Ingrid Bergman (Casablanca) makes us care regardless of the truth. Anna’s on the run mentality and flight from authorities is understandably based in the fear of what she doesn’t know and can’t remember. Whether she is a princess or not, this is a troubled woman needing redemption. Her desolate wandering Paris scenes may feel fifties overdone, but they are also stunning snapshots of the time and visually represent her on the edge state of mind. Does Anna latch onto Anastasia’s story and tell so many lies that she believes this identity is true? Mixed uses of both “I” and “she” keep the sense of self in crisis, and Bergman is able to be small, meager, and confused like this woman trapped in her little girl in the cellar nightmare. The wavering between Anna’s supposed train accident and the trauma of the Grand Duchess Anastasia becomes a tormenting inner conflict always brimming at the surface. She coughs, hunches over in longtime illness and burdens, yet Berman has some bemusement at the ruse as her class and grace shine and Anna blossoms into confident, regal poise. Will this act heal Anna or will she cut her puppet strings and ruin their inheritance plot? It’s a bittersweet performance from Bergman, as it is both melancholy on the past yet hopeful on the possibilities of a fresh start. Will Anna find her new life as a princess or as a woman in love – and which does she really want?

Now then, not only was he not even nominated for The Ten Commandments, but Yul Brynner never would have won an Oscar for playing the notorious lead villain Ramses II – though I confess I’ve always preferred him to the heroic Charlton Heston! Likewise, he was never going to win anything for Anastasia after the Academy politics already relented and quote forgave Ingrid Bergman for her perceived scandals and rightly awarded her the Best Actress Oscar. Brynner, of course, did ultimately win Best Actor for The King and I, which was perhaps graciously awarded more for his already longstanding history with the character on stage than for the actual movie musical. I would however like to think his Oscar trophy was awarded for this stunning sum trio of 1956 films, as in my mind, General Bounine in Anastasia is Brynner’s best performance. Initially, Bounine seeks to capitalize on the Grand Duchess returned and collect her lost inheritance and takes pride in this subterfuge. Bounine is fast-talking and claims he’s putting on no pressure and wants you to make up your own mind, yet at the same time, he tells you exactly what you are going to think. Anna’s cleverness, clues, and what ifs, unfortunately, do better than he expected, and Bounine’s thought of everything except the possibility of her really being Anastasia. Is this the wrong woman or just the right one pulling the rug out from under his plans? Bounine has faith in nothing but himself and wants a passable fake, yet he goes on his own journey of self-discovery by falling in love with his charge. Brynner sings and plays guitar in Anastasia as well, bringing a sentimental Old World feeling to Bounine. The General would perhaps have things as they were or thinks more of his lost country than he admits, and with such a mix of hardened and romantic, Bounine is not an easy character to pull off. Fortunately, Brynner presents a surprisingly stern but warm company to match Bergman. Who’s really discovering whom in their charade? Simply put a paragraph too late, I don’t think anyone else could have played this part so wonderfully.

Adding to the Imperial poise in Anastasia is the beautifully refined and much lauded Helen Hayes (A Farewell to Arms) as the exiled Dowager Empress. She’s a dolled up little dame, but also an old lady hanging on to this past grandeur – one who’s lost everything but her acerbic wit. The poor thing is understandably crabby after facing all these pretenders and now a “madwoman with a royal obsession,” but she puts down Bounine and sees right thru him even when he won’t say what’s on his mind. Are he and this pretender using her personal tragedy for vulgar reasons as she says? Can the Dowager Empress open herself to believing she may just yet have her granddaughter returned to her? “Wanting a dream doesn’t make it come true,” she says, but that doesn’t mean she isn’t hoping this is the one. It’s a darling performance by Hayes, yet the sappy isn’t without some sass or humor thanks to the banter with Martita Hunt (Brides of Dracula) as the Dowager’s goofy lady-in-waiting Baroness Livenbaum. I love it when the Empress tells the Baroness that for a woman her age, her fantasies of Bounine are disgusting! Likewise, Akim Tamiroff (For Whom the Bell Tolls) and Sacha Pitoeff (Is Paris Burning) are largely for the brevity and questioning of Bounine’s scheme early on in Anastasia. Ivan Desny (Bon Voyage!) as Prince Paul is also a fictitious character designed for romantic conflict – he’s charmed by the eponymous lady whether she is or isn’t his once lost and former intended. Paul unabashedly admits that women and money are certainly worth all this trouble, and though Desny can’t stand up to Brynner, the prince makes an interesting mercenary counterpoint to Bounine in Anastasia’s final act. And say hey, there’s Natalie Schafer – Mrs. Howe on Gilligan’s Island!

Colorful reds, velvets, Old World objects, and cluttered apartments also accent Anastasia with a bittersweet Russian flavoring while a somber Oscar nominated score from Alfred Newman (State Fair) remains classical and period sweeping. Can I get a cheer for that crank record player, too? Though some of the twenties via fifties looks may be inaccurate, there’s a real sense of lost splendor in the Orthodox Easter opening and concluding ballroom ceremonies. The old cars, hats, cigarettes, and time capsule Paris and Copenhagen locales also look divine along with white frocks, sweeping staircases, and onscreen orchestras touting Tchaikovsky. Subtitles will be necessary to catch all the tough to hear Russian names or now less common upscale French phrases, but this whiff off pre-war Edwardian manners and even earlier Victorian pomp and protocol re-imagined as mid century can’t quite be recreated today. Ironically, the DVD menus are surprisingly plain with no music or crafty designs; however, a brief restoration comparison and an old school Biography episode on the real life Anastasia provide film and real world history balance. Though dated, it’s fantastic to compare the grainy black and white photographs and archive footage of the Romanovs against the vivid fifties grandeur just seen – perfect for the historian or classroom to discuss. Now, someone please tell me there are plans for a 60^th Anniversary blu-ray edition coming soon!

Anastasia waxes nostalgic with exiled royals reminiscing on what was supposedly so splendid a time and this might anger viewers who think differently today. Luckily, the charm of the tale, style of the film, and excellent performances win out against any lingering politics or sense of aristocratic mood. In fact, compared to the tragically identified bodies accounted for nearly 100 years later, Anastasia may be even more revered now as a time capsule of past hopes and romantic escape. The Dowager Empress says she can smell the mothballs but the past remains “sweet and familiar.” Somehow, the film’s self-aware Gone with the Wind reflection and celebration of former luxury still let’s you choose which tale you’d rather believe. Fans of history, period dramas, classic film, and powerhouse performances can delight in the always entertaining and charismatic Anastasia.

Classic Blu-Ray Joy!

Classic Blu Ray Joy!

By Kristin Battestella

I’ve written previously on the fountain of youth and magical restorative powers of blu-ray for classic film.  Thanks to plenty of Christmas and birthday gifts, I have even more must see evidence!

Ben-Hur – I’ve spoken briefly on this spiritual essential before, but the massive 3 Disc Limited Edition 50^th Anniversary set needs a conversation all its own-and then some.  Not only is the 1925 silent Ben-Hur also restored on blu-ray, but the 1959 1080p feature glory takes two blu-ray discs along with two commentaries and an isolated score. Sweet Jesus indeed the three documentaries are long, and there are more storyboards, vintage trailers and newsreels, screen tests, 1960 Oscar footage, and 2 books!  Of course, we can’t forget the rousing main attraction itself- Best Actor Charlton Heston’s embittered quest for revenge and his freeing encounter with Christ never looked so good.  I’ve seen this film- low balling it- at least fifty times, and I’m finding things I have never seen.  From the grand Overture’s first bars to the final chorale, it’s as if we’re watching a contemporary film made to look old.  Yes, there’s mid century over acting and melodramatic stylings that perhaps give it away, but 50^th Anniversary my foot.  We believe this is real stonework, vintage armor, and truly a cast of thousands- for now you can count every single one of them hearing the Sermon on the Mount.  Such clarity and attention to detail- the patina on the golden plates, the stitching on Judah’s robes, sweat and dirt flinging from men and horse, oh heck even the eyebrows!  Already colorful and full of zest, the opening Nativity sequence is stunning, the galley scenes and naval battle epic- models and painted backdrops this cannot be!  CGI cannot recreate this kind of atmosphere. Do you believe I found myself tilting my head to the rocking of the Arrius’ ship?  The white stallions in Ilderim’s tent, the Roman mosaics, sets and locations- you just have to witness the chariot race for yourself because I’m running out of adjectives! Director William Wyler knew how to use the scope of his physical sets, and it finally shows as it was meant to be. The internal depth of scenery, perspective, performance, and inspiration is incredible- distant plants and Roman plumes blowing in the breeze, townsfolk in the far marketplace and the hills of Jerusalem beyond, the awesome healing power of God- this is how you make a film three-dimensional!  Avatar?  F*ck Avatar! You haven’t seen anything until you’ve seen Ben-Hur on blu-ray.  Jesus wept…and so did I.

Casablanca – The package design of this Ultimate Collector’s Edition Blu-Ray is cumbersome, but the treats are so, so delightful.  Two discs worth of features, with introductions and commentaries from Lauren Bacall and Roger Ebert, deleted scenes, audio and score accompaniments, trailers, and television adaptations.  Not to mention four documentaries, cartoons, a photo book, reproduction poster cards, and Warner production notes, wow! Of course, this Best Picture winner is already spectacular as far as the spectacular of cinema spectacularness goes- and yet this digital renewal adds a new pinnacle. The onscreen locales are simple awesome; the smoke and arching walls of Rick’s Café create a physical illusion to represent the tense claustrophobia of the titular town and times.  Remember, this film was made during World War II with a lovely international supporting cast of expatriates and refugees, and the tragedy, danger, and heart of it all still comes across stunningly. Everyone looks so suave yet untouchable, too- white dinner jackets, uniforms of all flavors and every button, medal, and insignia upon them.  It’s so formal and yet reckless- the perfect shadows and lighting design say everything that can’t be said in this most amazing Oscar screenplay. You can practically feel every slick in the men’s hairs and wipe Peter Lorre’s sweat from his brow. It’s so easy to be swept up in the incredible music, too. The layered montages are clear and defined as well, but somehow hazy and hypnotic- as if we are going back to Paris, too. Seeing all these details anew…it’s just like watching a new film for the first time! Just to think, I haven’t even mentioned the performances yet. That sparkle from Ingrid Bergman’s earrings, the tears in her eyes, the fog as she and Bogie…well, I can’t give everything away to the two people on the planet who haven’t seen Casablanca!  What’s wrong with you two? “Play it!”

The Maltese Falcon – Also already reviewed at length previously, you would think I have nothing more to say- or that black and white doesn’t cater to the wonders of blu-ray.  But no.  The palette from director John Huston is crisp and truly silver, indeed. The depth of the monochrome breaks free from the colorless full screen frame with dimension and layers for every fabric and decoration onscreen.  The pinstripe in Humphrey Bogart’s suit, the pattern in Mary Astor’s fur stole- Bogie looks better than that Tales from the Crypt stunt!  The classic uses of shadow and light are increased ten fold, and I feel as though I can walk into this picture ala Pleasantville. Okay, the white subtitles are tough to see in some spots, but the sound is pitch clear to hear all the double-talk and melodrama.  And the features! There’s a ‘One Magnificent Bird’ half hour retrospective with author Dashiell Hammett experts and stars of today singing their praises, a 45 minute TCM collection of Bogart’s film trailers and dozens more vintage previews. Radio clips; commentaries; forties bloopers and outtakes with the likes of James Cagney, Gary Cooper, and Jimmy Stewart; test shots, and more. These rarities look sweet and are a real treat – and it’s all subtitled, too!  Thanks to this lifelike facelift and appreciation, it’s very easy to be caught up in the quintessential noir mystery all over again. This disc is a must for any classic film connoisseur.

The Ten Commandments – And you thought I talked too long on Ben-Hur! Another epic that needs to be recognized again and again- and usually is thanks to yearly network airings for Passover- this 2 disc blu-ray release is simply magical! Growing up, I think I was actually more partial to this 1956 Cecil B. DeMille magnum opus over any other Biblical epic. From the dirty Vincent Price with his silk hanky ready to wipe any offending grease and his wicked snake successor Edward G. Robinson to the dry and bitchy perfect Judith Anderson versus the snarky and wonderful Anne Baxter, top to bottom everyone in this awesome cast comes to play.  Beautiful Lily Munster- er Yvonne De Carlo, true flower Debra Paget, strong Henry Wilcoxon- I’ve shown my share of Heston love! Though I confess, I do prefer Yul Brynner’s voice and presence. I still speculate his 1956 Best Actor Oscar is really for his work here and in Anastasia in tandem with The King and I. And oh my, look at that oil lathered up on John Derek! Despite the 1956 over the top acting style, the script is profoundly solid with touching quotations and sentiments.  This is a vivid world of inspiration, love, jealousy, and deliverance.  It’s a perfectly personal and intimate drama amid an epic, ancient scale with one of the best booming, rousing, almost voluptuous scores ever to tidy it all up!  All these classics on blu-ray have very pleasing, easy to navigate menus and presentation, I must say; one more thing the modern jumbled and flashy discs should learn.  Although DeMille’s introduction would never fly today.  After all, he tells us how long we have, that there’s an intermission, and it’s all divinely inspired.  Any one of those would scare contemporary audiences!  Fortunately, the Oscar winning color cinematography and divine scale speak for themselves on blu-ray: inlaid stonework, Egyptian jewelry, what color and flamboyant hieroglyphics! That fire upon Mount Sinai, the glow of the Burning Bush, the plagues and that freaky green mist coming for the first-born. I can’t stop- the Exodus, Ramses’ chariot pursuit, and that parting of that so, so blue Red Sea.  The blues alone in this picture- every shade of the spectrum indeed for Edith Head’s costumes. Of course, dramatic liberties are taken, the sound is big and the voices are low, and framing lines on the matte paintings are visible. There’s a simplicity to the original editing as well, with the master track only cut for a reaction or spectacle shot. It might jar some today, but this style allows longer stage drama scenes to play. The Ten Commandments is not without flaws, no, but it’s a truly complete picture nonetheless.  Who knew that a little grain, sand, mud, and water could do so much for a viewer’s soul?  

Yes, the prices of these collector and special edition blu-ray sets only seem to be getting higher, and they are delicate indeed.  Quicker editions are cheaper, but often deny the viewer all the bells and whistles. However, for the classic enthusiast or film historian, the movie restoration and complimentary material are essential pieces in the celebration and preservation of vintage cinema. 

For more classic blu-ray evidence, here are a few more of our reviews (so far!):

Gone with the Wind

Planet of the Apes

The Searchers

Wizard of Oz

Essential Easter Viewing

Essential Easter Viewing (And a touch of Passover, too!)

By Kristin Battestella

I’m later than I’d like in this informative list of films, TV shows, and documentaries for the Easter Holidays, but I thought what the heck, it’s never too late for some quality, wholesome, inspiration, family viewing-am I right? Naturally, I hope to write in more detail on some of these greats.

Here’s some Passion centric viewing for Christians and even non-believers.

Ben-Hur - Who can forget Charlton Heston’s Judah as he rows his way from a path of revenge towards redemption with Christ? The chariots, the lepers-even if you don’t like some of the over-the-top styles of fifties films, you must see this film once in your lifetime.

The Passion of The Christ- Mel Gibson’s controversial Passion Play tour de force is not for the squeamish or folks under 15, and its not the best film to introduce newcomers to Christ’s ministry. Nevertheless, this bloody film can inspire the faithful by lavishly detailing the brutality of the Crucifixion.

Jesus: The Complete Story- This Discovery channel series devotes almost three hours to exploring Jesus. From his birth to his ascension, it’s refreshing to see a program tackle as many of Jesus’ aspects from as many angles as possible. Narrated by Avery Books, young and old can be inspired here. In the Footsteps of Jesus is another fine series that also can’t be found on television anymore.

The Robe- Yes, Richard Burton tends to over act just a tad, but this lovely story about the centurion who crucified Christ and takes his cloak leads us on a haunting road to salvation. Though tame to most, the execution montage may be upsetting to kids. It’s beautiful, yet tragic imagery makes this one staple holiday viewing. Victor Mature also stars in the sub par, but still wholesome Demetrius and the Gladiators.

Elmer Gantry- Burt Lancaster gives an Oscar winning performance here as the titular con man who starts out as a fake and pays the ultimate price before learning the error of his ways. Not necessarily an Easter film, Elmer Gantry nonetheless shows us how sin and salvation are never apart in our lives-in fact; they are closer than we think.

King of Kings/ The Greatest Story Ever Told- I don’t mean it in a mean way, but if you must have the television on while the family’s about for the holidays, these two lengthy epics are the perfect way to keep the true meaning of Easter about the house.

I haven’t forgotten about our Friends celebrating Passover, but there’s really only one big one:

The Ten Commandments- You can’t go wrong with this 1956 classic anytime of year. Teen audiences may prefer the 2006 miniseries of the same name, and for the kids there’s the charming Prince of Egypt; but there’s nothing like a Cecil B. DeMille epic to get you into the spirit of things. This is one of my favorite movies ever. Growing up, I used to watch it daily-I kid you not. I learned how to make sheets into togas and pin towels to my head, but strangely, I always preferred Yul Brynner’s ruthless Rameses to Charlton Heston’s booming Moses. The music, the exceptional cast, the dialogue-there’s so many iconic and dare I say divine moments here for any person of faith, young or old.