Shawn Hall Hollywood has made plenty of movies about the life of Jesus, but my personal favorite is none other than Cecil B. DeMille’s The King of Kings. Released in 1927, right before sound took over Hollywood, The King of Kings‘ silence sets it apart from the many Biblical epics that would follow. With The King of Kings‘ balance between religious reverence and pure entertainment, it was voted #96 on Silent Era’s Top 100 Silent Movies List, which I’m reviewing as part of a weekly series sharing whether I agree with the film’s lofty ranking.
I find many of Hollywood’s depictions of Christ’s life to be over-stodgy and unwilling to reinterpret the Biblical account of Jesus’ life. The King of Kings works for me because DeMille and longtime screenwriting collaborator Jeanie MacPherson aren’t afraid to adjust the biblical chronology to streamline the story. The film livens up the well-trodden story of Jesus’ life by incorporating mythological elements found outside of the Gospels, such as fleshing out the backstories of Mary Magdalene and Judas Iscariot.
H.B. Warner (left) as Jesus; Joseph Schildkraut (right) as Judas Iscariot
DeMille brings his own unique flair to the film with several showstopping scenes only an entertainer like himself could envision. Most impressive is the film’s two-strip Technicolor scenes. This early color photography method captures only reds and greens, omitting blue entirely, although we don’t miss it much here. DeMille uses it for maximum effect in two standout moments: the film’s opening scene and the resurrection.
The opening color sequence is over-the-top in the best DeMille tradition. A scantily clad Mary Magdalene rides a zebra-drawn carriage in search of Judas, who’s been out consorting with a local carpenter. It’s a wild, only-in-a-DeMille-epic moment you don’t typically see in the Christ story.
Two-strip Technicolor scenes of Mary Magdalene’s wild days (left) and resurrection morning (right)
The resurrection scene also benefits from the two-strip Technicolor treatment, making it feel distinct and elevated from the rest of the film. The natural elements of trees, flowers, and light take on a transcendent quality that enhances the emotional and spiritual impact.
Another of my favorite among the film’s many visual flares is DeMille’s use of double exposure, specifically when Mary Magdalene first meets Jesus. Each seven deadly sin is represented by a different superimposed version of Mary, requiring DeMille and cameraman J. Peverell Marley to run the film through eight different times. The resulting image is a one-of-a-kind visual that is rarely seen outside the silent era of filmmaking.
Jacqueline Logan (left) as Mary Magdalene; Ernest Torrence (right) as Peter
Amidst the massive sets, epic crowd scenes, and lavish production design, the actors bring real humanity to their roles. H.B. Warner plays Jesus with a quiet authority. While he was over 50 during filming and clearly too old for the role, his performance shines most in the lighter, more compassionate scenes.
Ernest Torrance, a great silent-era character actor, gives a standout performance as Peter. He captures the disciple’s growth from a hot-headed follower to a steady leader at the time of Jesus’ resurrection. Joseph Schildkraut brings unexpected depth and sympathy to Judas Iscariot. His portrayal adds emotional weight to the character’s arc, making Judas’ downfall all the more heartbreaking.
While The King of Kings may not be the most historically accurate or theologically rigorous film, it’s hard to deny its emotional impact and cinematic boldness. Compared to many later Hollywood portrayals of Jesus’ life in the sound era, this film has aged remarkably well. It doesn’t feel overly stoic or preachy and manages to be genuinely entertaining even for audiences who aren’t deeply religious.
Next week I’ll be reviewing a much different film: the classic German expressionist horror Nosferatu.
