Samson and Delilah

1949

Adventure / Drama

0
IMDb Rating 6.8

Synopsis


Downloaded 1057 times
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2.55G
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English
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128 min
P/S 193 / 253
1.62G
Normal
English
/
128 min
P/S 87 / 146

Movie Reviews

Reviewed by hepsut2 9

Yeah...so some people may think it's corny and outdated. However, there is something about this movie, in spite of some of the poorer technical gimmicks...yet I still love it. I think that Lamarr does a great job as Delilah and don't understand why some think otherwise.I think she is/was the perfect Delilah..and Mature did a great job as Samson. Sanders was really terrific in his role and Lansbury carried out her part very well also. Call it what you will..but I find it is still worth watching; the color, costumes, Samson knocking down the Temple.. (love that scene!Good special effects for the time.) Whatever it is..I find myself watching it every now and then and still enjoy it as much as when I first saw it..

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Reviewed by bkoganbing 7

By the time the 1940s were rolling around, Cecil B. DeMille was doing a lot less work, but the work was getting more expensive. DeMille took off a couple of years now between films to create the opulent splendor that typifies his work.<br/><br/>Well Samson and Delilah abounds in opulence. The color cinematography is first rate and reason enough to see the film. Of course it has the usual stilted dialog that is common in DeMille&#39;s costume work. But one has to remember that DeMille made his show business bones with David Belasco in the Edwardian era. And that&#39;s how folks talked in those Belasco plays.<br/><br/>Acting honors in this go to George Sanders as the Saran of Gaza, Philistine ruler and sophisticated cad. This was the height of Sanders career, he received a Best Supporting Actor Oscar for All About Eve the same year. I think the Saran and Addison DeWitt would have understood each other very well.<br/><br/>Angela Lansbury is the original object of Samson&#39;s lust and she does okay, but personally if you had the choice between Jessica Fletcher and Tondelayo, who would you choose? Is that ever a no-brainer.<br/><br/>DeMille got a couple of loan-outs to play the leads. Hedy Lamarr could easily lay claim to be the most beautiful woman in the cinema. She never had much acting skill, but all she has to do is be seductive and that no one could do better.<br/><br/>And Victor Mature away from his home studio of 20th Century Fox where he was languishing, Samson and Delilah provided a whole new vista for him with roles in spectacle pictures where he could truly be that beautiful hunk of man.<br/><br/>Fay Holden is good as Samson&#39;s mother. In modern times I can just hear her telling him about settling down with a good Jewish girl.

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Reviewed by Steffi_P 7

Cecil B. DeMille is best remembered for his biblical epics, even though in a forty-year, eighty-film career he only made four of them. It wasn&#39;t just that the bible pictures gave him some of his biggest hits; it was in these features that DeMille seemed most at home, and the one genre in which he had unique ability.<br/><br/>Samson and Delilah brought an end to a long phase of epic-cum-adventure movies from DeMille. This period, beginning with The Plainsman in 1936, had some of the weakest pictures of his career for a number of reasons. For one thing, DeMille was not really very good at individualistic action scenes, and there was too much DeMillean historical grandeur and not enough of the free-spirited feel of the Errol Flynn or Tyrone power swashbucklers he was to some extent an trying to copy. What&#39;s more, these were mostly original stories or, at least, ones which were not well known, and DeMille&#39;s poor choice of source material and screenwriters meant the new characters and situations tended towards the feeble. DeMille&#39;s strength lay in his staging and presentation of a familiar tale, and as such his return to Sunday-school moralising, stuffy and pompous though it may be, is apt and welcome.<br/><br/>You see, DeMille was probably aware on some level that although these fables were well-known in a largely Christian society, to a modern audience they were also historically distant, emotionally neutral and even ridiculous when presented literally. But DeMille never attempted any humanity or realism in his features, instead turning the remote, mythical nature of the stories into a virtue, portraying his subject matter with a kind of dignity and grace. Of course most ancient world epics do this to some extent, but DeMille did it the most effectively because he never demanded that the audience sympathise with the characters, merely that we marvel at their deeds.<br/><br/>Specifically, DeMille composes the picture with overstated gesturing and painterly tableau, like a Gustave Dore print come to life. This is combined with the vivid colours of a bible stories illustration, coded with drab shades for humbleness and virtue, garish ones for extravagance and sin. Throughout, DeMille&#39;s flair for dreamlike, rhythmic motion keeps the images flowing, most notably in the establishing tracking shot at the wedding feast - although if you watch closely you&#39;ll see one of the two men engaged in a mock swordfight is actually camply slapping his opponent with a feather duster.<br/><br/>And DeMille was perhaps unique in that he even used the imagery to turn God into a character. You can see from one of his much earlier religious pictures, 1929&#39;s The Godless Girl, that DeMille associated God with natural beauty, and in Samson and Delilah God makes several key &quot;appearances&quot; as a breathtaking skyscape. This touch would be expanded upon in the 1956 version of Ten Commandments.<br/><br/>It&#39;s a pity DeMille didn&#39;t associate God with good acting, because even the theatrical presentation on offer here could do with at least some half-decent hamming. The trouble is DeMille chose his actors for their physicality, not for their ability to qualify their job description. In this respect Victor Mature and Hedy Lamarr are natural choices. DeMille&#39;s business associate Henry Wilcoxon, whom the director unbelievably used to cast in lead roles, is as wooden as ever, and the somewhat hit-and-miss Angela Lansbury, misses this time. The only standout is George Sanders who proves, just as Herbert Marshall did in DeMille&#39;s Four Frightened People, that bad dialogue becomes bearable if you underplay it.<br/><br/>Fortunately when it came to crew DeMille always procured the best. Samson and Delilah boasts Oscar-winning costumes and art direction from no less personages than Edith Head and Hans Dreier respectively. The Technicolor cinematography is great, with some remarkably clear night time shots. Some of the effects may be a little dubious; whenever Victor Mature lifts up something heavy it&#39;s obvious it&#39;s being hoisted from offscreen, and that woolly-rug/lion tamer scene is actually betrayed by bad editing, but overall this is a solid, high-quality production.<br/><br/>Yes, Samson and Delilah is as corny as anything, but it looks great, and above all it entertains. Don&#39;t be too harsh on DeMille&#39;s staginess or his archaic moralism, for as his willing appearance as himself in Sunset Boulevard proves, he probably didn&#39;t have a sense of irony. And his earnestness was probably his greatest asset.

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