There are many reasons to watch this _peplum—and first of all the director—Walsh (also producer and writers; otherwise, much better known for his Westerns and gangster movies), then its cast (Daniella Rocca, Rosalba Neri) and crew (did you spot Bava on the credits?); the subject of 'Esther
' was mighty topical—intolerance, etc., and who could prevent Walsh from giving it a goofy, lavish and slightly sleazy twist.
It's nothing less than an author movie—directed, written and even produced by Walsh. The goofiness and insouciant dumbness of the approach can't be disputed.
This movie of decadent glamor and bright Technicolor comes from Walsh, triply at its helm; he was a cognate of sorts of that generation—Ford, Hawks, Wyler.
And it's also a transition _peplum, given its hybrid origin—Walsh on the one hand, in charge of many—and a handful of Italians, on the other.
The strident, embarrassing, annoying anachronisms and goofiness are to be resolutely forgiven, in the name of that swiftly all—pervading gusto—which the Italians of course had—and since the blessed age of Pastrone—the Pastrone—but which daddy Walsh, now in the twilight of his career, also had, and abundantly. What heartrending beauty!
And Leone, who directed the best _peplum ever, is not far!
There's a bit of enjoyable, glamorous decadency—like a foretaste of Leone—but then again, there's generally a bit of decadency, at least in Walsh's later outings.
8Never mind the lecturing about Mordecai as a socio—political and administrative reformer; there are better things in Walsh's _peplum. The beautiful and nymphomaniac Vashti is played by the herself gorgeous, slightly plump, big—breasted Daniela Rocca.
9After dancing, this rejected, despised and fun—loving Queen bares her tits in front of an assembly, the spits on the King, whose instincts are left cold, even frozen, by her lovely dance; this was a nicely done scene. Otherwise, Persia had an enlightened monarch, a reformist with democratic leanings, ready to temper the autocratic tendencies that made those oriental realms, kingdoms and empires, known. At least, that's Walsh's take on the events.
10Unfortunately, Esther herself, bravely as she behaves, tends to be a bit of a bore—it's not the role, but the actress. I also thought Naaman was more handsome than his King. Walsh knew to shot the Persian knights, the mounted military, and those scenes are also vivid. Many things in 'Esther ' already point towards a suggested Eurocinema sleaze—nudity, murders shown graphically, etc.. Nice turns of phrase abound—we hear about 'scorching deserts', etc.. The eunuch—in—chief is a corny, caring and protective uncle, ready to correct injustices and abuses, if in his strength to do so. I have eagerly awaited for the sight of the necropolis—well, the scene looked creepy enough. The idea of a Jew hiding between tombs is, of course, delirious. The king proves to be a reasonable guy, not at all like one of those nasty oriental monarchs. Anyway, the institution on the Purim is a fine, touching scene.
Walsh's Persia is a very Romanized, Latinized one, with the barbarous Persians looking like clean—shaved Roman officers with '50s hairdos. The men in the movie—be they Persian, Judean or even Syrian—are resolutely in the square—jawed, Germanic—looking category. Well, not the eunuch or Mordecai, but the sexually—active ones, the males. Conveniently Aryan and Septentrional.
It's nothing less than an author movie—directed, written and even produced by Walsh. The goofiness and insouciant dumbness of the approach can't be disputed.
This movie of decadent glamor and bright Technicolor comes from Walsh, triply at its helm; he was a cognate of sorts of that generation—Ford, Hawks, Wyler.
And it's also a transition _peplum, given its hybrid origin—Walsh on the one hand, in charge of many—and a handful of Italians, on the other.
The strident, embarrassing, annoying anachronisms and goofiness are to be resolutely forgiven, in the name of that swiftly all—pervading gusto—which the Italians of course had—and since the blessed age of Pastrone—the Pastrone—but which daddy Walsh, now in the twilight of his career, also had, and abundantly. What heartrending beauty!
And Leone, who directed the best _peplum ever, is not far!
There's a bit of enjoyable, glamorous decadency—like a foretaste of Leone—but then again, there's generally a bit of decadency, at least in Walsh's later outings.
8Never mind the lecturing about Mordecai as a socio—political and administrative reformer; there are better things in Walsh's _peplum. The beautiful and nymphomaniac Vashti is played by the herself gorgeous, slightly plump, big—breasted Daniela Rocca.
9After dancing, this rejected, despised and fun—loving Queen bares her tits in front of an assembly, the spits on the King, whose instincts are left cold, even frozen, by her lovely dance; this was a nicely done scene. Otherwise, Persia had an enlightened monarch, a reformist with democratic leanings, ready to temper the autocratic tendencies that made those oriental realms, kingdoms and empires, known. At least, that's Walsh's take on the events.
10Unfortunately, Esther herself, bravely as she behaves, tends to be a bit of a bore—it's not the role, but the actress. I also thought Naaman was more handsome than his King. Walsh knew to shot the Persian knights, the mounted military, and those scenes are also vivid. Many things in 'Esther ' already point towards a suggested Eurocinema sleaze—nudity, murders shown graphically, etc.. Nice turns of phrase abound—we hear about 'scorching deserts', etc.. The eunuch—in—chief is a corny, caring and protective uncle, ready to correct injustices and abuses, if in his strength to do so. I have eagerly awaited for the sight of the necropolis—well, the scene looked creepy enough. The idea of a Jew hiding between tombs is, of course, delirious. The king proves to be a reasonable guy, not at all like one of those nasty oriental monarchs. Anyway, the institution on the Purim is a fine, touching scene.
Walsh's Persia is a very Romanized, Latinized one, with the barbarous Persians looking like clean—shaved Roman officers with '50s hairdos. The men in the movie—be they Persian, Judean or even Syrian—are resolutely in the square—jawed, Germanic—looking category. Well, not the eunuch or Mordecai, but the sexually—active ones, the males. Conveniently Aryan and Septentrional.