Quo Vadis 1951 Movie

Download here

Quo Vadis (1951) — Torrents. A fierce Roman commander becomes infatuated with a beautiful Christian hostage and begins questioning the tyrannical leadership of the despot Emperor Nero. Windows 8 pro upgrade. Rent Quo Vadis (1951) starring Robert Taylor and Deborah Kerr on DVD and Blu-ray. Get unlimited DVD Movies & TV Shows delivered to your door with no late fees, ever.

• Quo Vadis 1951 Full Movie
• Quo Vadis 1951 In English
• Quo Vadis 1951 Putlocker

(Redirected from Ursus (film character))

Quo Vadis: A Narrative of the Time of Nero AuthorHenryk SienkiewiczOriginal titleQuo vadis. Powieść z czasów NeronaTranslatorJeremiah Curtin
W. S. KuniczakCountryPolandLanguagePolishGenreHistorical novelPublisherPolish dailies (in serial) and Little, Brown (Eng. trans. book form)1895–1896Media typePrint (Newspaper, Hardback and Paperback)

Scene of the historical novel by Henryk Sienkiewicz (Quo Vadis), entitled ‘Ligia leaves Aulus’ house’. Illustration by Domenico Mastroianni. Postcard from 1913. Publisher: A.N. Paris (Alfred Noyer Studio).

Nero and the burning of Rome, Altemus Edition, 1897. Illustration by M. de Lipman.

Quo Vadis: A Narrative of the Time of Nero, commonly known as Quo Vadis, is a historical novel written by Henryk Sienkiewicz in Polish.[1] ‘Quo vadis, Domine?’ is Latin for ‘Where are you going, Lord?’ and appears in Chapter 69 of the novel[2] in a retelling of a story from the apocryphal Acts of Peter, in which Peter flees Rome but on his way meets Jesus and asks him why he is going to Rome. Jesus says, ‘If thou desertest my people, I am going to Rome to be crucified a second time’, which shames Peter into going back to Rome to accept martyrdom.

The novel Quo Vadis tells of a love that develops between a young Christian woman, Lycia (Ligia in Polish) and Marcus Vinicius, a Roman patrician. It takes place in the city of Rome under the rule of emperor Nero, c. AD 64.

Sienkiewicz studied the Roman Empire extensively before writing the novel, with the aim of getting historical details correct. Consequently, several historical figures appear in the book. As a whole, the novel carries a pro-Christian message.[3][4][5]

It was first published in installments in the Gazeta Polska between 26 March 1895 and 29 February 1896,[6][7] as well as in two other journals, Czas and Dziennik Poznański, starting two and three days later.[8][9] It came out in book form in 1896 and has been translated into more than 50 languages. The novel contributed to Sienkiewicz’s Nobel Prize for literature in 1905.[10]

Several movies have been based on Quo Vadis, including two Italian silent films in 1913 and in 1924, a Hollywood production in 1951, a 1985 miniseries directed by Franco Rossi, and a 2001 adaptation by Jerzy Kawalerowicz.

Synopsis of the plot[edit]

The handsome but brutal tribune M. Vinicius, returning to Rome from service in the east, falls in love with ‘Lygia’, a hostage daughter of the Lygian king, who is being raised in the house of Aulus Plautius (a general of British fame), and his wife Pomponia Graecina, who is secretly a Christian. Petronius uses his influence with Nero to have Lygia seized from the Plautius’ and given to Vinicius; but the plan misfires when Caesar, during her brief custody on the Palatine (in which she meets Acte), invites her to a riotous feast, where Lygia, inculcated with Christianity by Pomponia Graecina, is horrified by Vinicius’ drunken advances, and the degeneracy of the Roman court. She commands Ursus (her Lygian bodyguard, and also a convert) to organize a band of Christians to waylay her chariot while she is being conveyed the following day from the Palatine to Vinicius’ house; the plan succeeds, and Lygia disappears.

Vinicius is now driven to distraction with the thwarting of his obsessive desire; Petronius, taking pity on him, secures him the services of the cadging Greek philosopher Chilo Chilonis; from the sign of a fish which Lygia had drawn Vinicius in the house of Plautius Chilo discovers that Lygia is Christian; and since a vigilant watch on the gates has revealed that she is still in the city, Chilo undertakes to disguise as a Christian to worm out the secret of her hiding-place. Hope revives when Chilo recognizes Ursus in Urban, a common Christian laborer. When he learns that the entire Christian community in the city is to meet at night in Ostrienum outside the city walls, to hear Peter the Apostle (lately arrived from Galilee), Vinicius insists on accompanying Chilo to the event in disguise, hoping to see Lygia; although momentarily impressed by Peter’s recollections of Christ, Vinicius forgets all when he spots Lygia in the crowd; together with Chilo and the powerful athlete Croton, originally brought along in case of danger, he follows Lygia and Ursus from the meeting to a plebian insula in the trans-Tiber region of the city; he and Croton enter the building to retrieve Lygia, but Ursus strangles Croton to death and nearly kills Vinicius, sparing him only at Lygia’s intercession; the cowardly Chilo flees.

Here Vinicius is magnanimously nursed to health by Lygia and her fellow Christians, who to his immense surprise, have forgiven him all; he is further shocked when, on his summoning Chilo (by agreement with the Christians) to communicate to his household that the cause of his disappearance is a sudden trip to Beneventum, it emerges that Glaucus, the Christian doctor who is attending Vinicius, had been betrayed by Chilo to bandits during a previous period of his unscrupulous adventures; whereupon with Peter’s approval Glaucus forgives him all. Meanwhile, when Lygia realizes, while acting as his nurse, that she is herself deeply in love with Vinicius, she confesses to Peter, who while affirming that her love is not sinful, says she cannot marry Vinicius as long as he is not a Christian. Lygia changes her residence, vanishing a second time.

A Vinicius restored to health returns to his role in society as a patrician and Augustian (or courtier of Caesar). Yet although he cannot bring himself to embrace Christianity, he is now disgusted with the profligacy of Nero’s court, and begins to treat his slaves with more mercy; and even earns the enmity of the empress Poppaea Sabina by rejecting her advances. At this juncture Chilo reappears, with information of Lygia’s new hideout, urging him to surround the house with troops and reclaim her; but Vinicius, changed by his contact with the Christians, rejects the temptation, and has Chilo scourged for his ingratitude before forcing him to promise never to spy on the Christians again; Chilo privately swears revenge. Vinicius repairs unattended to the house indicated by Chilo, and lays before the apostles Paul and Peter his unchanging love for Lygia and his altered ways, promising to convert if Paul will undertake to instruct him in the faith; overjoyed, the apostles summon in Lygia, who confesses her love for him; with the apostles’ blessings the two are engaged.

Soon after, Nero retires for recreation to Antium, where Vinicius, as his courtier, is forced to attend him, accompanied however with Paul; in Antium Nero, who is composing a song on the fall of Troy, repeatedly complains that he has never seen a real city burning; but even his degraded courtiers are shocked when messengers break into the banqueting hall one night with information that Rome is aflame. Vinicius dashes madly on horseback to the city, in tortured anxiety for Lygia; the trans-Tiber region of the city where Lygia resides has not yet been reached by the fire; with the help of Chilo who now reappears (having broken his promise not to spy on the Christians), he finds Lygia and Peter sheltering in a quarry-man’s hut outside the city; here, with outraged multitudes rioting outside, and gladiators and escaped slaves killing and pillaging, Vinicius (who has meanwhile been converted by Paul) vows never to desert them, and Peter baptizes him on the spot.

Nero meantime returns to Rome, where he sings his poem before the outraged multitude, which believes him to be the author of the calamity; Petronius however restores the situation by riding into the crowd (who idolize him for his reputed humanity), and promising them extraordinary gifts of ‘bread and circuses’ in the name of Caesar. But as Nero remains unpopular, Tigellinus, Caesar’s praetorian Prefect, advocates finding a scapegoat for the disaster; in the middle of the convocation, in which various candidates are suggested (including Tigellinus himself, who rebuffs the suggestion with a vailed threat) Tigellinus is called away, and returns to with the suggestion that the Christians fulfill that office; it emerges that Chilo, still furious from his flogging by Vinicius, has come forward to accuse them of the crime; Petronius, Tigellinus’ longstanding rival for influence over Nero, protests, but is overridden by Poppaea, who hates Lygia for her beauty, and Vinicius for spurning her. Petronius leaves with the certainty that he has irrecoverably lost his influence over Nero, and is therefore almost certainly doomed to death.

Immediately on returning home, Petronius warns Vinicius of Lygia’s danger; but before he reaches her, she is seized by soldiers, informed of her hiding place by Chilo; with the latter’s contrivance, multitudes of other Christians are imprisoned, and Nero plans a series of games in the arena featuring their deaths to divert unpopularity from himself. During a whole series of ghastly exhibitions, including devouring by wild beasts, butchery by gladiators, and finally burning them on crosses by nighttime to illuminate a luxurious banquet in Caesar’s gardens open to all Rome, Vinicius attempts unsuccessfully to rescue Lygia from prison. Meanwhile, Chilo who since informing has been raised to the rank of an Augustinian suffers the pains of a tormented conscience while watching the undeserved sufferings of the Christians in the arena, though they had repeatedly pardoned him for the severest crimes; at the last show, when he encounters Glaucus yet alive on one of the crosses, who again forgives him, Chilo breaks down, and accuses Caesar before the crowd of being the incendiary; the court scatters, and Paul emerges from the confusion to promise him salvation if he perseveres in his repentance; this gives him the fortitude to later die unperjured in the arena when he refuses to retract his accusation of the emperor.Meanwhile, the final games come around, in which Lygia and Ursus are exposed in the arena to an aurochs; however, Ursus with his preternatural strength breaks the beast’s neck; the crowd, glutted with the slaughter of innocents, demands of Caesar to spare the pair, and Nero acquiesces out of cowardice; Vinicius and Lygia marry and settle on his estates in Sicily, where they live unprosecuted as Christians.

The rest of the novel relates the historical events of Peter’s martyrdom (“Quo vadis, Domine?”), Petronius’ resigned death in the aftermath of Piso’s conspiracy, and concludes with a vision of retribution in the death of Nero based on Suetonius.

Quo Vadis 1951 Full Movie

Characters in Quo Vadis[edit]

• Marcus Vinicius (fictitious son of the historical Marcus Vinicius), a military tribune and Roman patrician who recently returned to Rome. On arrival, he meets and falls in love with Lygia. He seeks the counsel of his uncle Petronius to find a way to possess her.
• Calina (fictitious), usually known as Lygia (Ligia in some translations), the daughter of a deceased king of the Lugii, a barbarian tribe (hence her nickname). Lygia is technically a hostage of the Senate and people of Rome, and was forgotten years ago by her own people. A great beauty, she has converted to Christianity, but her religion is originally unknown to Marcus.
• Gaius Petronius (historical), titled the ‘arbiter of elegance,’ former governor of Bithynia. Petronius is a member of Nero’s court who uses his wit to flatter and mock him at the same time. He is loved by the Roman mob for his liberal attitudes. Somewhat amoral and a bit lazy, he tries to help his nephew, but his cunning plan is thwarted by Lygia’s Christian friends.
• Eunice (fictitious), household slave of Petronius. Eunice is a beautiful young Greek woman who has fallen in love with her master, although he is initially unaware of her devotion.
• Chilon Chilonides (fictitious), a charlatan and a private investigator. He is hired by Marcus to find Lygia. This character is severely reduced in the 1951 film and the 1985 miniseries, but in the novel itself, as well as in the Polish miniseries of 2001, Chilon is a major figure as doublecrossing traitor. His end is clearly inspired by Saint Dismas.
• Nero (historical), Emperor of Rome, portrayed as incompetent, petty, cruel, and subject to manipulation by his courtiers. He listens most intently to flatterers and fools. The novel does indicate, though, that the grossly exaggerating flatteries concerning his abilities as a poet actually have some basis in fact.
• Tigellinus (historical), the prefect of the feared Praetorian Guard. He is a rival of Petronius for Nero’s favour, and he incites Nero into committing acts of great cruelty.
• Poppaea Sabina (historical), the wife of Nero. She passionately envies and hates Lygia.
• Acte (historical), an Imperial slave and former mistress of Nero. Nero has grown tired of her and now mostly ignores her, but she still loves him. She studies the Christian faith, but does not consider herself worthy of full conversion. In the 1951 film, it is she who helps Nero commit suicide.
• Aulus Plautius (historical), a respected retired Roman general who commanded the invasion of Britain. Aulus seems unaware (or simply unwilling to know) that Pomponia, his wife, and Lygia, his adoptive daughter, profess the Christian religion.
• Pomponia Graecina (historical), a Christian convert. Dignified and much respected, Pomponia and Aulus are Lygia’s adoptive parents, but they are unable to legalize her status. According to Roman law Lygia is still a hostage of the Roman state (i.e., of the Emperor), but she is cared for by the elderly couple.
• Ursus (fictitious), the bodyguard of Lygia. As a fellow tribesman, he served her late mother, and he is strongly devoted to Lycia. As a Christian, Ursus struggles to follow the religion’s peaceful teachings, given his great strength and barbarian mindset.
• Peterthe Apostle (historical), a weary and aged man with the task of preaching Christ’s message. He is amazed by the power of Rome and the vices of Emperor Nero, whom he names the Beast. Sometimes Peter doubts that he will be able to plant and protect the ‘good seed’ of Christianity.
• Paulof Tarsus (historical) takes a personal interest in converting Marcus.
• Crispus (fictitious), a Christian zealot who verges on fanaticism.
• Calba (historical), a Roman Emperor after Nero.
• Epaphroditus (historical), a courtier who helps Nero commit suicide.

Historical events[edit]

Nero’s Torches by Henryk Siemiradzki served as an inspiration for Quo Vadis

Quo Vadis 1951 In English

Sienkiewicz alludes to several historical events and merges them in his novel, but some of them are of doubtful authenticity.

• In AD 57, Pomponia was indeed charged with practising a ‘foreign superstition’,[11] usually understood to mean conversion to Christianity.[citation needed] Nevertheless, the religion itself is not clearly identified. According to ancient Roman tradition she was tried in a family court by her own husband Aulus (the pater familias), to be subsequently acquitted. However, inscriptions in the catacombs of Saint Callistus in Rome suggest that members of Graecina’s family were indeed Christians.[citation needed]
• The rumor that Vespasian fell asleep during a song sung by Nero is recorded by Suetonius in the Lives of the Twelve Caesars.[12]
• The death of Claudia Augusta, sole child of Nero, in AD 63.
• The Great Fire of Rome in AD 64, which in the novel is started by orders of Nero. There is no hard evidence to support this, and fires were very common in Rome at the time. In Chapter 50, senior Jewish community leaders advise Nero to blame the fires on Christians; there is no historical record of this either. The fire opens space in the city for Nero’s palatial complex, a massive villa with lush artificial landscapes and a 30-meter-tall sculpture of the emperor, as well as an ambitious urban planning program involving the creation of buildings decorated with ornate porticos and the widening of the streets (a redesign which is not implemented until after Nero’s death).[citation needed]
• The suicide of Petronius clearly is based on the account of Tacitus.[citation needed]

Similarities with Barrett play[edit]

Playwright-actor-manager Wilson Barrett produced his successful play The Sign of the Cross in the same year as publication of Quo vadis? started. The play was first performed 28 March 1895.[13] Several elements in the play strongly resemble those in Quo Vadis. In both, a Roman soldier named Marcus falls in love with a Christian woman and wishes to ‘possess’ her. (In the novel, her name is Lycia, in the play she is Mercia.) Nero, Tigellinus and Poppea are major characters in both the play and novel, and in both, Poppea lusts after Marcus. Petronius, however, does not appear in The Sign of the Cross, and the ending of the play diverges from that of Quo Vadis.

Adaptations[edit]

In 1951, Quo Vadis was adapted as a film by Mervyn LeRoy.

A successful stage version of the novel by Stanislaus Stange was produced in 1900.[14] Film versions of the novel were produced in 1901, 1912 and 1924.[15] A 1951 version directed by Mervyn LeRoy was nominated for eight Academy Awards. The novel was also the basis for a 1985 mini-series starring Klaus Maria Brandauer as Nero and a 2001 Polish mini-series directed by Jerzy Kawalerowicz. It was satirized as the quintessential school play gone horribly awry in Shivering Shakespeare, a 1930 Little Rascals short by Hal Roach.

Jean Nouguès composed an opera based on the novel to a libretto by Henri Caïn; it was premiered in 1909.[16]Feliks Nowowiejski composed an oratorio based on the novel, performed for the first time in 1907, and then his most popular work.

Ursus series (1960–1964)[edit]

Following Buddy Baer’s portrayal of Ursus in the classic 1951 film Quo Vadis, Ursus was used as a superhuman Roman-era character who became the protagonist in a series of Italian adventure films made in the early 1960s.

When the Hercules film craze hit in 1959, Italian filmmakers were looking for other muscleman characters similar to Hercules whom they could exploit, resulting in the nine-film Ursus series listed below. Ursus was referred to as a ‘Son of Hercules’ in two of the films when they were dubbed in English (in an attempt to cash in on the then-popular Hercules craze), although in the original Italian films, Ursus had no connection to Hercules whatsoever. In the English-dubbed version of one Ursus film (retitled Hercules, Prisoner of Evil), Ursus was referred to throughout the entire film as Hercules.

There were a total of nine Italian films that featured Ursus as the main character, listed below as follows: Italian title/ English translation of the Italian title (American release title);

• Ursus / Ursus (Ursus, Son of Hercules, 1960) a.k.a. Mighty Ursus, a.k.a. Le fureur d’Hercule, starring Ed Fury
• La Vendetta di Ursus / The Revenge of Ursus (The Vengeance of Ursus, 1961), starring Samson Burke
• Ursus e la Ragazza Tartara / Ursus and the Tartar Girl (Ursus and the Tartar Princess, 1961) a.k.a. The Tartar Invasion, a.k.a. The Tartar Girl; starring Joe Robinson, Akim Tamiroff, Yoko Tani, directed by Remigio Del Grosso
• Ursus Nella Valle dei Leoni / Ursus in the Valley of the Lions (Valley of the Lions, 1962) starring Ed Fury, this film revealed the origin story of Ursus
• Ursus il gladiatore ribelle / Ursus the Rebel Gladiator (The Rebel Gladiators, 1962), starring Dan Vadis
• Ursus Nella Terra di Fuoco / Ursus in the Land of Fire (Son of Hercules in the Land of Fire, 1963) a.k.a. Son of Atlas in the Land of Fire, starring Ed Fury
• Ursus il terrore dei Kirghisi / Ursus, the Terror of the Kirghiz (Hercules, Prisoner of Evil, 1964) starring Reg Park
• Ercole, Sansone, Maciste e Ursus: gli invincibili / Hercules, Samson, Maciste and Ursus: The Invincibles (Samson and His Mighty Challenge, 1964), starring Yan Larvor as Ursus (a.k.a. ‘Combate dei Gigantes’ or ‘Le Grand Defi’)
• Gli Invincibili Tre / The Invincible Three (3 Avengers, 1964), starring Alan Steel as Ursus

Recognition[edit]

In the small church of ‘Domine Quo Vadis’, there is a bronze bust of Henryk Sienkiewicz. It is said that Sienkiewicz was inspired to write his novel Quo Vadis while sitting in this church.

Legacy[edit]

• Raphael Lemkin, the Polish lawyer of Jewish descent who coined the term genocide, writes in his memoirs that he first conceived of the idea of the mass extermination of an ethnic group as a young boy in Poland when reading Quo Vadis.[17]

See also[edit]

References[edit]

1. ^Halsey, F. R. (1898–02–05). ‘Historians of Nero’s Time’(PDF). New York Times. pp. BR95. Retrieved 2009–01–02.
2. ^Sienkiewicz, Henryk (June 1896). ‘Quo Vadis: A Narrative of the Time of Nero’. Translated from the Polish by Jeremiah Curtin. Quo vadis, Domine?
3. ^’The Man Behind Quo Vadis’. Culture.pl. Retrieved 2018–02–16.
4. ^Socken, Paul (2013–09–01). The Edge of the Precipice: Why Read Literature in the Digital Age?. McGill-Queen’s Press — MQUP. ISBN9780773589872.
5. ^Soren, David (2010). Art, Popular Culture, and The Classical Ideal in the 1930s: Two Classic Films — A Study of Roman Scandals and Christopher Strong. Midnight Marquee & BearManor Media.
6. ^’Gazeta Polska 26 March 1895' (in Polish). Retrieved 2018–11–08.
7. ^David J. Welsh, ‘Serialization and structure in the novels of Henryk Sienkiewicz’ in: The Polish Review Vol. 9, №3 (1964) 53.
8. ^’Czas 28 March 1895' (in Polish). Retrieved 2018–11–08.
9. ^’Dziennik Poznański 29 March 1895' (in Polish). Retrieved 2018–11–08.
10. ^’International Conference, ‘Quo vadis’: inspirations, contexts, reception. Henryk Sienkiewicz and his vision of Ancient Rome | Miejsce ‘Quo vadis?’ w kulturze włoskiej. Przekłady, adaptacje, kultura popularna’. www.quovadisitaly.uni.wroc.pl. Retrieved 2018–02–16.
11. ^Tacitus, AnnalsXIII.32
12. ^Suetonius, The Twelve Caesars, Divus Vespasian 4
13. ^Wilson Barrett’s New Play, Kansas City Daily Journal, (Friday, 29 March 1895), p. 2.
14. ^Gerald Bordman, ‘Stange, Stanislaus’, The Oxford companion to American theatre, Oxford University Press, 1984.
15. ^http://www.casttv.com/video/f987ap1/the-many-faces-of-ursus-ed-fury-dan-vadis-alan-steel-video
16. ^Gesine Manuwald, Nero in Opera: Librettos as Transformations of Ancient Sources. (Tranformationen der Antike ; 24). Berlin: De Gruyter, 2013. ISBN9783110317138
17. ^Raphael Lemkin, Totally Unofficial: The Autobiography of Raphael Lemkin, p. 1, Yale University Press (2010), ISBN978–0300186963

External links[edit]

• Quo Vadis at Project Gutenberg, translated by Jeremiah Curtin (plain text and HTML)
• Quo Vadis at Internet Archive and Google Books (various translations, scanned books original editions illustrated)
• Quo Vadis at Google Books, translated by Dr. S. A. Binion and M. De Lipman
• Quo Vadis public domain audiobook at LibriVox
• Quo Vadis, in Polish.
• Quo Vadis, in Armenian.

Retrieved from ‘https://en.wikipedia.org/w/index.php?title=Quo_Vadis_(novel)&oldid=902598317#Ursus'

Quo VadisDirected byMervyn LeRoyProduced bySam ZimbalistScreenplay byS. N. Behrman
Sonya Levien
John Lee MahinBased onQuo Vadis
by Henryk SienkiewiczStarringRobert Taylor
Deborah Kerr
Leo Genn
Peter UstinovNarrated byWalter PidgeonMusic byMiklós RózsaCinematographyRobert Surtees
William V. SkallEdited byRalph E. WintersDistributed byMetro-Goldwyn-Mayer

Release date

Running time

171 minutesCountryUnited StatesLanguageEnglishBudget$7.6 million[1]Box office$21 million

Quo Vadis (Latin for ‘Where are you going?’) is a 1951 American epic film made by Metro-Goldwyn-Mayer in Technicolor. It was directed by Mervyn LeRoy and produced by Sam Zimbalist, from a screenplay by John Lee Mahin, S.N. Behrman and Sonya Levien, adapted from the novel Quo Vadis (1896) by the Polish Nobel Laureate author Henryk Sienkiewicz. The score is by Miklós Rózsa and the cinematography by Robert Surtees and William V. Skall. The title refers to an incident in the apocryphal Acts of Peter.[2]

The film starred Robert Taylor, Deborah Kerr, Leo Genn, and Peter Ustinov, and featured Patricia Laffan, Finlay Currie, Abraham Sofaer, Marina Berti, Buddy Baer and Felix Aylmer. Anthony Mann worked on the film for four weeks as an uncredited second-unit director. Sergio Leone was an uncredited assistant director of Italian extras. Future Italian stars Sophia Loren and Bud Spencer appeared as uncredited extras. The film was nominated for eight Academy Awards (though it won none), and it was such a huge box-office success that it was credited with single-handedly rescuing MGM from the brink of bankruptcy.

Nice Sony Ultrabook 11' system. Includes Sony VAIO velcro sleeve and power adapter. Battery is in working order, last about 2 hours. The only minor issue I have found with this unit is the touchscreen on the left side of the screen does not work. Sony vaio svd11215cxb screen.

• 5Reception

Plot[edit]

The story, set in ancient Rome during the final years of Emperor Nero’s reign, 64–68 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.

Marcus Vinicius (Robert Taylor) is a Roman military commander and the legate of the XIV Gemina. Returning from wars in Britain and Gaul, he falls in love with Lygia (Deborah Kerr), a devout Christian, and as a result he finds himself increasingly drawn to her religion. Though she grew up as the foster daughter of Aulus Plautius (Felix Aylmer), a retired Roman general, Lygia is legally a Lygian hostage of Rome in the old general’s care. Petronius (Leo Genn), Marcus’ uncle, persuades Nero (Peter Ustinov) to give her to his nephew as a reward for his services. Lygia resents this arrangement, but cannot resist falling in love with Marcus.

Screenshot of Deborah Kerr from the trailer for the film Quo Vadis

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. The Christian apostle Peter (Finlay Currie) 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.

Screenshot of Leo Genn from the trailer for the film Quo Vadis

Poppaea (Patricia Laffan), 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 (Buddy Baer) 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, to the outrage of his officers, who are among the spectators. But Ursus is able to topple the bull and break its neck. Massively impressed by Ursus’s victory, the crowd exhorts Nero to spare the couple. He refuses to do so, even after four of his courtiers, Seneca (Nicholas Hannen), architect Phaon (D.A. Clarke-Smith), poet Lucan (Alfredo Varelli), and musician Terpnos (Geoffrey Dunn) add their endorsement of the mob’s demands by putting their thumbs up as well. Marcus then breaks free of his bonds, leaps into the arena, and frees Lygia with the help of the loyal troops from his own legion. 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.

Ringling Museum Sarasota, Florida. Bronze statue of Lygea tied to the bull by Giuseppe Moretti

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 (Rosalie Crutchley), 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. 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 reported to have been spoken by Jesus (John 14:6, New Testament).

Cast[edit]

Publicity photo of Marina Berti for Quo Vadis

• Robert Taylor as Marcus Vinicius (a Roman military officer)
• Deborah Kerr as Lygia (a Lygian hostage)
• Leo Genn as Petronius (Arbiter of Elegance in Nero’s court)
• Peter Ustinov as Nero (Emperor of Rome)
• Patricia Laffan as Poppaea (Nero’s second wife)
• Finlay Currie as Peter (Christian apostle)
• Abraham Sofaer as Paul (Christian evangelist)
• Marina Berti as Eunice (Petronius’ Spanish slavegirl)
• Buddy Baer as Ursus (Lygia’s bodyguard)
• Felix Aylmer as Plautius (retired Roman general)
• Nora Swinburne as Pomponia (Plautius’ wife)
• Ralph Truman as Tigellinus (Prefect of the Praetorian Guard)
• Norman Wooland as Nerva (Marcus’ second-in-command)
• Peter Miles as Nazarius (a Christian boy)
• Geoffrey Dunn as Terpnos (musician in Nero’s court)
• Nicholas Hannen as Seneca (Nero’s former tutor)
• D. A. Clarke-Smith as Phaon (architect in Nero’s court)
• Rosalie Crutchley as Acte (Nero’s former mistress)
• John Ruddock as Chilo (a Greek soothsayer)
• Arthur Walge as Croton (a Roman gladiator)
• Elspeth March as Miriam (Nazarius’ mother)
• Strelsa Brown as Rufia (High Priestess of the Vestals)
• Alfredo Varelli as Lucan (poet in Nero’s court) [dubbed]
• Roberto Ottaviano as Flavius (Praetorian captain) [dubbed]
• William Tubbs as Anaxander (Petronius’ master of slaves)
• Pietro Tordi as Galba (new Roman emperor)

- Notable uncredited cast members -

• Richard Garrick (Public Slave with Marcus at Triumph)
• Clelia Matania (Parmenida, women’s hairdresser in Nero’s palace)
• Jurek Shabeluski (Faun Dancer at Nero’s banquet)
• Marika Aba (Assyrian Dancer at Nero’s banquet)
• Giuseppe Tosi ( wrestler at Nero’s banquet)
• Robin Hughes (Jesus of Nazareth in flashback tableaux)
• Adrienne Corri (Christian girl in Circus prison and arena)
• Lujo Sostarich (‘Charon’ in Nero’s Circus)
• Walter Pidgeon — Narrator

Music[edit]

Scene from Quo Vadis

The music score by Miklós Rózsa[3]is notable for its historical authenticity. Since no Ancient Roman music had survived, Rozsa incorporated a number of fragments of Ancient Greek and Jewish melodies into his own choral-orchestral score.[4]

• In 1950, before film production began, Rozsa made pre-recordings of numerous fanfares, marches, songs and dances with the M-G-M Studio Orchestra in Culver City, and these survive. In 1951 he recorded the full score at M-G-M’s British studios with the Royal Philharmonic Orchestra, but these recordings were reportedly lost later on in a fire at the Culver City studios. However, ‘dubdowns’ of all of those recordings that were used in the film (about two-thirds with added sound effects) do survive. In 1951, M-G-M Records issued gramophone discs, in three different editions and speeds, of twelve tracks from the original soundtrack music (without sound effects). Consequently, much of the original recorded score is still available in various formats.[3] In 2009, Film Score Monthly collected and issued these elements on two CDs.[5]
• In 1963, M-G-M Records brought out a stereo compilation of excerpts from Rozsa’s film scores played by the Symphony Orchestra of Rome, conducted by Rozsa and Carlo Savina.[6] Rozsa conducted the Triumphal March from Quo Vadis.[4]
• In 1967, Rozsa conducted the Nuremberg Symphony Orchestra in a stereo compilation of excerpts from his epic film scores. This included three selections from Quo Vadis.[7]
• In 1977, Rozsa made a stereo recording of twelve selections from his score, once again conducting the Royal Philharmonic Orchestra.[8]
• In 2012, Nic Raine, conducting the City of Prague Philharmonic Orchestra, recorded the entire score (a total of 38 tracks on two CDs). This included several pieces of music that were originally recorded by Rozsa but not used on the film’s soundtrack.[9]

At the end of the film, a triumphal march heralds the success of the armies of the new emperor, Galba. This theme would be re-used by Rózsa in Ben-Hur (1959) as the brief ‘Bread and Circuses March’ preceding ‘The Parade of the Charioteers’, prior to the famous chariot race.[10]

In his 1982 autobiography, Miklos Rozsa expressed his regret at the way his score was handled by producer Sam Zimbalist, ‘a dear personal friend’: ‘[He] didn’t use the music in any way as effectively as he might have done. After all the trouble I went to, much of my work was swamped by sound effects, or played at such a low level as to be indistinguishable .. It was a great disappointment to me.’ However, he was mistaken when he wrote: ‘Quo Vadis, because it was produced abroad, was completely boycotted by Hollywood and received no Academy nominations.’[4] Although it didn’t win any Academy Awards it did, in fact, receive eight nominations — including one for Rozsa’s score.[11]

Rozsa’s love theme for Lygia (‘Lygia’) was set to words by Paul Francis Webster and Mario Lanza sang it for the first time on his radio show broadcast of January 1952.

Production notes[edit]

Screenshot of Peter Ustinov from the trailer for the film Quo Vadis

• In the late 1930s, M-G-M 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 ten 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 Monday, May 22, 1950.[12]
• 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). There were also several 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.’
• Peter Ustinov recalled how he was cast as Nero in 1949: ‘An exciting proposition came my way when I was twenty-eight years old. M.G.M. were going to remake Quo Vadis, and I was a candidate for the role of Nero. Arthur Hornblow [Jr] 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 thirty-one. A second cable from them read ‘Historical Research Has Proved You Correct Stop The Part Is Yours’.[13]
• Clark Gable turned down the role of Marcus Vinicius very early in the film’s production history because he thought he would look ridiculous in Roman costumes.
• Sophia Loren appeared in the film as an extra. (Attempts to identify her don’t seem to have been successful.) The Italian star Bud Spencer also had an uncredited extra role as a Praetorian Guardsman inside Nero’s summer palace at Antium. (He answers Nero, but his voice may be dubbed.)
• Audrey Hepburn, still widely unknown when the film was released, was considered for the part of Lygia. Director Mervyn LeRoy wanted to cast her,[14] but the role went to established M-G-M contract star Deborah Kerr instead. Wardrobe stills of her in costume for the film still exist.[15][16]
• Produced for $7 million, it was the most expensive film ever made at the time. It would become M-G-M’s largest grosser since Gone with the Wind (1939)
• The film holds the record for the most costumes used in one movie: 32,000.[12]
• Peter 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.’ Ustinov comments: ‘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.’[13]

Screenshot of Patricia Laffan from the trailer for the film Quo Vadis

• In the summer of 1950, when Quo Vadis was in production, Rome was in the grip of an intense heatwave, as Peter Ustinov recalled: ‘Rome was in the throes of Holy Year, and bursting with pilgrims. It was also one of the hottest summers on record.’[13] The heat affected not only the cast and crew but also the lions. Mervyn LeRoy recalled that because of the heat the lions were reluctant to enter the arena.[14]
• 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.[17]
• At one point in the film Nero shows his court a scale-model illustrating his plans for the rebuilding of Rome as a new city to be called Neropolis. Studio publicity claimed that this was the famous model of Ancient Rome housed in the Museum of Roman Civilization and that it had been borrowed from the Italian government.[12] (This was originally constructed by Mussolini’s government for a 1937 exhibition of Roman architecture.)[18][19] However, the museum model is of 4th Century Rome, not of 1st Century Rome as it would have looked when rebuilt after the Great Fire of 64AD. The screen model looks nothing like the museum model. (It was almost certainly constructed especially for the film — perhaps by its special effects model-maker, Donald Jahraus.)
• The first use of the phrase ‘Hollywood on the Tiber’ — which has come to refer to a golden era of American runaway film production in Italy — was as the title of a Time magazine article in the issue dated June 26, 1950, published while Quo Vadis was being shot in Rome.[20]
• Filmed at the sprawling Cinecitta Studios that had been opened by Benito Mussolini in 1924 as part of the dictator’s master plan to make Rome the pre-eminent world capital. (Mussolini and Hollywood producer Hal Roach later negotiated to form the R.A.M. [‘Roach and Mussolini’] Corporation, which was ultimately aborted. This business alliance with the Fascist state horrified 1930s Hollywood moguls and ultimately led to Roach defecting from his M-G-M distribution deal to United Artists in 1937). Filming in post-war Italy offered American studios immense facilities and cheap Italian labor and extras, of which thousands were required. Hollywood would return to Cinecitta often, producing many of its biggest spectacles there, including Helen of Troy (1956), Ben-Hur (1959) and Cleopatra (1963) — the latter two dwarfing Quo Vadis in scale. The studio would later be used by many Italian producers and directors, including Federico Fellini.
• Composer Miklós Rózsa said that he wrote most of his score at the Culver City studios while the film was being shot in Italy: ‘[The] rushes were being sent back to Hollywood for cutting at the same time as they were being cut back in Rome .. I set to work so that at least something was ready, even if it had to be modified later. I worked with the Chief Supervising Editor, Margaret Booth, whose technical knowledge is incomporable .. Finally the Rome contingent arrived home with their version. It wasn’t so very different from the one that Margaret had put together, and there were no insuperable problems. Sam Zimbalist was amazed and delighted that I had all the music ready in three weeks, thanks to the work Margaret and I had already done.’[4]
• Numerous Italian locations — as many as ten — were used in the film. With the exception of the Appian Way,[12] most of these haven’t been identified. But the final stage of the chariot chase was filmed along Bolgheri’s 2000-year-old Viale dei Cipressi (Avenue of Cypresses). This famous landmark in Livorno, Tuscany is easily recognizable.[21]
• Anthony Mann worked on the film as an uncredited second-unit director. He spent 24 nights (four working weeks) on the Cinecitta backlot shooting scenes for the Burning of Rome sequence. (However, he was not the co-director of the film, as some of his admirers have claimed.)[22]The soundstage scenes for the same sequence were directed by Mervyn LeRoy.[13]
• At 104 years of age (on 31 August 2018), Italian actor Alfredo Varelli (Lucan) may be the oldest surviving person associated with the film.[23]

Reception[edit]

Box office performance[edit]

The film was a commercial success. According to M-G-M’s records, during its initial theatrical release it earned $11,143,000 in the U.S. and Canada and $9,894,000 elsewhere, making it the highest-grossing film of 1951, and resulting in a profit to the studio of $5,440,000.

Critical reaction[edit]

Bosley Crowther of The New York Times wrote in a mixed review, ‘Here is a staggering combination of cinema brilliance and sheer banality, of visual excitement and verbal boredom, of historical pretentiousness and sex.’ Crowther thought that even Cecil B. DeMille’s The Sign of the Cross ‘had nothing to match the horrendous and morbid spectacles of human brutality and destruction that Director Mervyn LeRoy has got in this. But within and around these visual triumph and rich imagistic displays is tediously twined a hackneyed romance that threatens to set your teeth on edge.’[24]Variety wrote that the film was ‘right up there with Birth of a Nation and Gone With the Wind for boxoffice performance. It has size, scope, splash and dash, giving for the first time in a long while credence to the now-cliched ‘super-colossal’ term. This is a super-spectacle in all its meaning.’[25] Edwin Schallert of the Los Angeles Times declared it ‘one of the most tremendous if not the greatest pictures ever made .. Its pictorial lavishness has never been equaled in any other production.’[26]Richard L. Coe of The Washington Post called it ‘a fabulously entertaining movie. Though the expansive, expensive film from the celebrated novel runs over three hours on the Palace screen, you won’t believe you’ve been there nearly that long.’[27]Harrison’s Reports declared, ‘For sheer opulence, massiveness of sets, size of cast and beauty of Technicolor photography, no picture ever produced matches ‘Quo Vadis’. It is a super-collosal [sic] spectacle in every sense of the meaning, and on that score alone it is worth a premium price of admission.’[28]The Monthly Film Bulletin was negative, writing that the film ‘demonstrates how inordinately boring the convention of size and spectacle can be, when divorced from taste, feeling, and, to a surprising extent, creative talent. The film is unimaginatively directed, at a very slow pace in keeping with the general larger than life proportions, and its technical qualities are not impressive.’[29]

Asus m2n68 plus. M2N68-AM PLUS. Product warranty or service will not be extended if: (1) the product is repaired, modified or altered, unless such repair, modification of alteration is authorized in writing by ASUS; or (2) the serial number of the product is defaced or missing. Find great deals on eBay for asus m2n68 plus. Shop with confidence. ROG Strix GeForce® RTX 2080 OC edition 8GB GDDR6, made for driving 4K display resolution and VR. Spanning 2.7-slots, the ROG Strix GeForce® RTX 2080 keeps Turing™ chilled with a massive heatsink, Axial-tech fans, and MaxContact technology. Drivers Recovery & Restore for ASUS M2N68-AM Plus, Fast Repair!DVD, ALL drivers for audio, video, chipset, Wi-Fi, Usb and+, Everything you need to fix your drivers problems!(Last Version) All Windows!

The film holds a score of 88% on Rotten Tomatoes based on 16 reviews.[30]

Awards and nominations[edit]

Quo Vadis 1951 Putlocker

Screenshot of Marina Berti & Leo Genn from the trailer for the film Quo Vadis

Quo Vadis was nominated for eight Academy Awards: twice for Best Actor in a Supporting Role (Leo Genn as Petronius and Peter Ustinov as Nero), and for Best Art Direction-Set Decoration, Color (William A. Horning, Cedric Gibbons, Edward Carfagno, Hugh Hunt), Best Cinematography, Color, Best Costume Design, Color, Best Film Editing, Best Music, Scoring of a Dramatic or Comedy Picture, and Best Picture. However, the movie did not win in any categories.[31]

Peter Ustinov won the Golden Globe Award for Best Supporting Actor. The Golden Globe for Best Cinematography was won by Robert Surtees and William V. Skall. The film was also nominated for Best Motion Picture — Drama.

Mervyn LeRoy was nominated for Outstanding Directorial Achievement by the Screen Directors Guild.

Aug 25, 2018 Welcome to the GSM-Forum forums. You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. Setool box setup latest version. If you are looking for the latest updated version of Setool Box 3, then today in this post i am going to share Setool Box new updated setup installer with its USB drivers. SETool2 is one of best software to service and repair most of SonyEricsson phones. If you like to get more information, please visit our support forum You always can (must) read LATEST NEWS here. You always can (must) read GENERAL FAQ here.

Home media[edit]

• A two-disc special edition of the movie was released on DVD in the U.S. on November 11, 2008, after a long photochemical restoration process.[32] A high definition Blu-ray version was released March 17, 2009.[citation needed]

Comic book adaptation[edit]

• Thriller Comics No 19, July 1952 (Amalgamated Press, London) Full-color photo-cover [image reversed] • 64 pages in black-and-white (Adapted by Joan Whitford • Drawn by Geoff Campion) [Remarkably faithful to the look of the film. However, apparently for reasons of space, both Marcus’ friend Nerva and Petronius’ slavegirl Eunice are excised.][33]

See also[edit]

References[edit]

1. ^Hall, Sheldon; Neale, Steve (2010). Epics, Spectacles, and Blockbusters: A Hollywood History. Detroit, Michigan: Wayne State University Press. p. 137. ISBN978–0–8143–3008–1.
2. ^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.
3. ^ ab’FSM: Quo Vadis (Miklós Rózsa)’.
4. ^ abcdMiklos Rozsa: Double Life (The Baton Press • Tunbridge Wells, UK • 1982) pp144–155/p216.
5. ^Miklos Rozsa Treasury (Audio CD • FSM Box 4 • 2009)
6. ^Great Movie Themes composed by Miklos Rozsa (Vinyl LP • M-G-M E-SE-4112 • 1963)
7. ^Miklos Rozsa — Epic Film Scores (Vinyl LP • Capitol ST2837 • 1967)
8. ^Quo Vadis — Miklos Rozsa (Vinyl LP • Decca PFS4430 • 1977)
9. ^Quo Vadis — Miklos Rozsa: world premiere recording of the complete film score (Audio CD • Prometheus Records • 2012)
10. ^Ben-Hur — Miklos Rozsa: original motion picture soundtrack (Audio CD • Sony Music • 1996)
11. ^’Awards Databases’. 2015–02–04.
12. ^ abcdM-G-M presents Quo Vadis (original film brochure • 20 pages, including covers) [ 1951 ]
13. ^ abcdPeter Ustinov: Dear Me (William Heinmann • London • 1977) pp217–244
14. ^ abMervyn LeRoy: Take One (W H Allen • London • 1974)
15. ^Spoto, Donald (2006). Enchantment: The Life of Audrey Hepburn. London: Hutchinson. p. 48. ISBN978–0–09–179655–6.
16. ^’Photo’. 2.bp.blogspot.com.
17. ^’The Life Story of Patricia Laffan’ Picture Show Vol63 No1832, July 10th, 1954 (Amalgamated Press, London) p12
18. ^Wyke, Maria (1997). Projecting the Past: Ancient Rome, Cinema, and History. New York: Routledge. p. 140. ISBN978–0–415–90614–2. Retrieved 5 April 2012.
19. ^Kelly, Christopher (2006). The Roman Empire: A Very Short Introduction (1st ed.). Oxford: Oxford University Press. p. 128. ISBN978–0–19–280391–7. Retrieved 5 April 2012.
20. ^Wrigley, Richard (2008). Cinematic Rome. Leicester: Troubador. p. 52. ISBN978–1–906510–28–2.
21. ^’The cypress tree-lined road of Bolgheri’ on YouTube
22. ^Jeanine Basinger: Anthony Mann (Wesleyan University Press • Middletown, Conn • 1979/2007) pXX
23. ^https://westernsitaliana.blogspot.com/2014/08/happy-100th-birthday-alfredo-varelli.html
24. ^Crowther, Bosley (November 9, 1951). ‘QuoVadis,’ Based on Sienkiewicz Novel and Made in Rome, Opens at Two Theatres’.The New York Times. 22.
25. ^’Film Reviews: Quo Vadis’. Variety. November 14, 1951. 6.
26. ^Schallert, Edwin (November 30, 1951). ‘Quo Vadis’ Triumphant As Great Film Spectacle’. Los Angeles Times. Part I, p. 26.
27. ^Coe, Richard L. (December 26, 1951). ‘The Writers Rate ‘Quo Vadis’ Bows’. The Washington Post. B8.
28. ^’Quo Vadis’ with Robert Taylor, Deborah Kerr and Peter Ustinov’. Harrison’s Reports. November 17, 1951. 182.
29. ^’Quo Vadis’. The Monthly Film Bulletin. 19 (218): 32. March 1952.
30. ^’Quo Vadis’. Rotten Tomatoes. Retrieved April 19, 2019.
31. ^Murphy, Mekado (2016–12–27). ‘Movies — The New York Times’. Movies.nytimes.com. Archived from the original on 2016–03–07. Retrieved 2017–02–11.Cite uses deprecated parameter |deadurl= (help)CS1 maint: BOT: original-url status unknown (link)
32. ^’Quo Vadis Two-Disc Special Edition: Restored and Remastered Classic Finally Comes to DVD November 11 from WHV’. Business Wire. 2008–07–21. Retrieved 2017–02–11.
33. ^David Ashford and Steve Holland (Eds): The Thriller Libraries: The Fleetway Picture Library Index Volume 2 (Book Palace Books • London • 2010) p146

External links[edit]

Wikimedia Commons has media related to Quo Vadis (1951 film).Wikiquote has quotations related to: Quo Vadis (1951 film)

• Quo Vadis on IMDb
• Quo Vadis at Rotten Tomatoes
• Quo Vadis at AllMovie
• Quo Vadis at the TCM Movie Database

Retrieved from ‘https://en.wikipedia.org/w/index.php?title=Quo_Vadis_(1951_film)&oldid=914120905'

Download here