Quo Vadis (Latin for "Where are you going?") is a 1951 American religious epic historical film set in ancient Rome during the final years of Emperor Nero's reign, based on the 1896 novel of the same title by Polish Nobel Laureate author Henryk Sienkiewicz. Produced by Metro-Goldwyn-Mayer and filmed in Technicolor, it was directed by Mervyn LeRoy from a screenplay by S. N. Behrman, Sonya Levien, and John Lee Mahin. It is the fourth screen adaptation of Sienkiewicz's novel. The film stars Robert Taylor, Deborah Kerr, Leo Genn, and Peter Ustinov, and features Patricia Laffan, Finlay Currie, Abraham Sofaer, Marina Berti, Buddy Baer, and Felix Aylmer. Future Italian stars Sophia Loren and Bud Spencer appeared as uncredited extras. The score is by Miklós Rózsa and the cinematography by Robert Surtees and William V. Skall. The film was released by Metro-Goldwyn-Mayer on November 2, 1951.
The story, set between 64 and 68 AD, combines both historical and fictional events and characters, and compresses the key events of that period into the space of only a few weeks. Its main theme is the Roman Empire’s conflict with Christianity and persecution of Christians in the final years of the Julio-Claudian line. Unlike his illustrious and powerful predecessor, Emperor Claudius, Nero proved corrupt and destructive, and his actions eventually threatened to destroy Rome's previously peaceful social order. The title refers to an incident in the apocryphal Acts of Peter.The words "quo vadis" as a question occur five times in the Latin Bible – in Genesis 16:8, Genesis 32:17, Judges 19:17, John 13:36, and John 16:5.
The film was nominated for eight Academy Awards, including Best Picture, and it was such a huge box office success that it was credited with single-handedly rescuing MGM from the brink of bankruptcy. Peter Ustinov won the Golden Globe Award for Best Supporting Actor – Motion Picture, and Robert Surtees and William V. Skall won the award for Best Cinematography.
Plot
Marcus Vinicius is a Roman military commander and the legate of the XIV Gemina. Returning from wars in Britain and Gaul, he stays in the house of Aulus Plautius, a retired Roman general, and becomes smitten with Lygia, a Lygian hostage of Rome in the old general's care. Unbeknownst to Marcus, Lygia, Aulus, and his household are devout Christians, who host Paul the Apostle that very night. Petronius, Marcus' uncle, persuades Nero to give the girl to his nephew as a reward for his services. Lygia resents this arrangement, but eventually falls in love with Marcus.
Meanwhile, Nero's atrocities become increasingly outrageous and his behavior more irrational. After Nero burns Rome and blames the Christians, Marcus sets out to rescue Lygia and her family. Nero arrests them, along with all the other Christians, and condemns them to be slaughtered in his Circus; some are killed by lions. Petronius, Nero's most trusted advisor, warns him that the Christians will be celebrated as martyrs, but he cannot change the emperor's mind. Then, tired of Nero's insanity and suspecting that he may be about to turn on him, too, Petronius composes a letter to Nero expressing his derision for the emperor (which he previously had concealed to avoid being murdered by him) and commits suicide by severing an artery in his wrist. His slavegirl Eunice (who has fallen in love with him) elects to die with him, despite being freed. The Christian apostle Peter has also been arrested after returning to Rome in response to a sign from the Lord, and he marries Marcus and Lygia in the Circus prisons. Peter is later crucified upside-down, a form of execution conceived by Nero's Praetorian Guard as an expression of mockery.
Poppaea, Nero's wife, who lusts after Marcus, devises a diabolical revenge for his rejection of her. Lygia is tied to a stake in the Circus and a wild bull is released into the arena. Lygia's bodyguard Ursus must attempt to kill the bull with his bare hands to save Lygia from being gored to death. Marcus is taken to the emperor's box and forced to watch. This act outrages his loyal officers who are among the spectators. Ursus is able to topple the bull, though, and break its neck. At that moment Marcus manages to break free from his bonds and leaps into the arena to get to Lygia. Massively impressed by Ursus's victory and seeing that Lygia is the beloved of Marcus who is still regarded as a great war hero, the crowd exhorts Nero to spare the couple. He refuses to do so, even after four of his courtiers, Seneca, architect Phaon, poet Lucan, and musician Terpnos add their endorsement of the mob's demands. The decision enrages the crowd and Marcus's loyal troop members rush to the arena to save the three. Marcus accuses Nero of burning Rome and announces that General Galba is at that moment marching on the city, intent on replacing Nero, and hails him as new Emperor of Rome.
The crowd revolts, now firmly believing that Nero, not the Christians, is responsible for the burning of Rome. Nero flees to his palace, where he strangles Poppaea, blaming her for inciting him to scapegoat the Christians. Then Acte, Nero's discarded mistress who is still in love with him, appears and offers him a dagger to end his own life before the mob storming the palace kills him. Nero cannot do it, so Acte helps him to push the dagger into his chest, and he dies.
Marcus, Lygia, and Ursus are now free, and they leave Rome for Marcus' estate in Sicily to begin a new life together. By the roadside, Peter's crook, which he had left behind when he returned to Rome, has sprouted blossoms. A radiant light appears and a chorus intones, "I am the way, the truth, and the life," words spoken by Jesus (John 14:6, New Testament).
Cast
The film features many uncredited supporting parts and cameos: including Elizabeth Taylor as a Christian prisoner in arena, Sophia Loren as a Lygian slave, Christopher Lee as a chariot driver, Clelia Matania as Parmenida the hairdresser, Marika Aba as the Assyrian Dancer at Nero's banquet, Richard Garrick as a slave with Marcus at Triumph, Giuseppe Tosi as a wrestler at Nero's banquet, Adrienne Corri as an imprisoned Christian woman, Bud Spencer as an Imperial Guard, and Robin Hughes as Jesus in a flashback tableau. The narration was provided by an uncredited Walter Pidgeon.
Production Pre-production
In the late 1930s, MGM bought the talking-picture rights to the 1896 novel Quo Vadis from author Henryk Sienkiewicz's heirs. (At the same time they had to buy the 1924 silent-screen version.) The company originally intended to make the film in Italy, but the outbreak of WWII caused it to be postponed. After the war, production was restarted. A lease was obtained on the huge Cinecitta Studios, eight miles outside Rome, with its 148 acres and nine soundstages.
After months of preparation, the art director, costume designer, and set decorator arrived in Rome in 1948. Construction of the outdoor sets began at once: the huge Circus of Nero and exterior of Nero's palace, a whole section of Ancient Rome, a great bridge, and the Plautius villa. The manufacture of thousands of costumes for extras began, along with drapes and carpets, metal and glass goblets, and 10 chariots. Official permission was granted to refurbish a section of the Appian Way. One of Hollywood's foremost animal experts began to procure lions, horses, bulls, and other animals from around Europe. Well in advance of filming, the producer, director, chief cinematographer, and casting director arrived in Rome. The film finally went into production on May 22, 1950.
Casting
The film was originally cast in 1949 with Elizabeth Taylor as Lygia and Gregory Peck as Marcus Vinicius. When the production changed hands the following year, the roles went to Deborah Kerr and Robert Taylor. Elizabeth Taylor had an uncredited cameo role as a Christian in the Circus prisons.
Although most of the cast was British and a few Italian (Marina Berti, Alfredo Varelli, Roberto Ottaviano), Robert Taylor was certainly not the only American. Others included Buddy Baer (Ursus), Peter Miles (Nazarius), Arthur Walge (Croton), and William Tubbs (Anaxander). Also, several were among the uncredited cast; perhaps the most notable of these was 70-year-old Irish-American character actor Richard Garrick as the public slave who stands behind Marcus in his Triumph chariot, holding a victory laurel above his head, and repeating "Remember thou art only a man."
Ustinov recalled how he was cast as Nero in 1949:Peter Ustinov: Dear Me (William Heinmann • London • 1977) pp217-244 An exciting proposition came my way when I was 28 years old. MGM were going to remake Quo Vadis, and I was a candidate for the role of Nero. Arthur Hornblow was to be the producer, and I was tested by [the director] John Huston. I threw everything I knew into this test, and to my surprise, John Huston did little to restrain me, encouraging me in confidential whispers to be even madder. Apparently the test was a success, but then the huge machine came to a halt, and the project was postponed for a year. At the end of the year, the producer was Sam Zimbalist and the director Mervyn LeRoy. They also approved my test, but warned me in a wire that I might be found to be a little young for the part. I cabled back that if they postponed again, I might be too old, since Nero died at 31. A second cable from them read "Historical Research Has Proved You Correct Stop The Part Is Yours."
Audrey Hepburn, still widely unknown when the film was released, was considered for the part of Lygia. Director Mervyn LeRoy wanted to cast her,Mervyn LeRoy: Take One (W H Allen • London • 1974) but the role went to established MGM contract star Deborah Kerr. Wardrobe stills of her in costume for the film still exist.
Patricia Laffan was selected by the producer and director for the major role of Poppaea after they watched a screen test she made for a smaller part in the film."The Life Story of Patricia Laffan" Picture Show Vol63 No1832, 10 July 1954 (Amalgamated Press, London) p12
Ustinov relates in his autobiography Dear Me that director Mervyn LeRoy summarized the manner in which he envisioned Ustinov should play the Emperor Nero, very salaciously, as
"Nero ... The way I see him ... He's a guy plays with himself nights." At the time I thought it a preposterous assessment, but a little later I was not so sure. It was a profundity at its most workaday level, and it led me to the eventual conviction that no nation can make Roman pictures as well as the Americans ... The inevitable vulgarities of the script contributed as much to its authenticity as its rare felicities. I felt then as I feel today, in spite of the carping of critical voices, that Quo Vadis, good or bad according to taste, was an extraordinarily authentic film, and the nonsense Nero was sometimes made to speak was very much like the nonsense Nero probably did speak.
Filming Produced for $7 million, it was the most expensive film ever made at the time. It became MGM's largest grosser since Gone with the Wind (1939). Filmed at the sprawling Cinecitta Studios that had been opened by Benito Mussolini in 1937 as part of the dictator's master plan to make Rome the pre-eminent world capital. (Mussolini's son Vittorio Mussolini and Hollywood producer Hal Roach negotiated to form the R.A.M. ["Roach and Mussolini"] Corporation later in 1937, which was ultimately aborted. This business alliance with the Fascist state horrified 1930s Hollywood moguls and ultimately led to Roach defecting from his MGM distribution deal to United Artists in 1938.)