The team that produced King Kong for RKO Pictures, writer Meriam C. Cooper and director Ernest B. Schoedsack, decided to emulate Cecil B. DeMille in giving us The Last Days Of Pompeii. It's not a bad film, but it nearly bankrupted RKO so prohibitive was the cost for that small studio.
The film bears a distinct resemblance to DeMille's eye filling, but now incredibly campy The Sign Of The Cross. Our protagonist here is Preston Foster who plays Marcus the Blacksmith, but before the film is done goes through more reinventions of character than you would find in good and bad Russian literature. As a content, but happy blacksmith a bit of good fortune has him and wife celebrating. But she's accidentally injured and dies for lack of medical care, not that medical care was all that good back in those days to begin with. Foster decides that all that matters in life is the money you can accumulate for a rainy day. Foster is constantly reassessing life throughout the film.
Foster gets to go to Judea and is on the scene of the crucifixion and before that has Jesus heal his adopted son David Holt who grows up to be John Wood. Foster also meets Basil Rathbone as Pontius Pilate who also does some major reassessing after presiding over the trial of Jesus.
If the Oscar for Special Effects was in existence in 1935 it would have been interesting to see either The Last Days Of Pompeii or Mutiny On The Bounty would have won the award. Those scenes of the volcanic eruption of Versuvius are what guaranteed this film would not show a profit. They do rival what DeMille was capable of, but DeMille had a far bigger studio and more financial security in Paramount.
Also in the cast are Louis Calhern as the Roman consul and Alan Hale as Foster's number two man. They give their usual good performances.
As for RKO Studios and Preston Foster, they got some Oscar recognition for another film that Foster did for them that year. It was the low budget, but incredibly powerful Irish story, The Informer where Victor McLaglen won for Best Actor. A much better film than The Last Days Of Pompeii.
Still the spectacle of this film can still awe you, even on the small screen.
The film bears a distinct resemblance to DeMille's eye filling, but now incredibly campy The Sign Of The Cross. Our protagonist here is Preston Foster who plays Marcus the Blacksmith, but before the film is done goes through more reinventions of character than you would find in good and bad Russian literature. As a content, but happy blacksmith a bit of good fortune has him and wife celebrating. But she's accidentally injured and dies for lack of medical care, not that medical care was all that good back in those days to begin with. Foster decides that all that matters in life is the money you can accumulate for a rainy day. Foster is constantly reassessing life throughout the film.
Foster gets to go to Judea and is on the scene of the crucifixion and before that has Jesus heal his adopted son David Holt who grows up to be John Wood. Foster also meets Basil Rathbone as Pontius Pilate who also does some major reassessing after presiding over the trial of Jesus.
If the Oscar for Special Effects was in existence in 1935 it would have been interesting to see either The Last Days Of Pompeii or Mutiny On The Bounty would have won the award. Those scenes of the volcanic eruption of Versuvius are what guaranteed this film would not show a profit. They do rival what DeMille was capable of, but DeMille had a far bigger studio and more financial security in Paramount.
Also in the cast are Louis Calhern as the Roman consul and Alan Hale as Foster's number two man. They give their usual good performances.
As for RKO Studios and Preston Foster, they got some Oscar recognition for another film that Foster did for them that year. It was the low budget, but incredibly powerful Irish story, The Informer where Victor McLaglen won for Best Actor. A much better film than The Last Days Of Pompeii.
Still the spectacle of this film can still awe you, even on the small screen.