romanorum1 Marcus the Blacksmith (Preston Foster) is a content Roman: He has a lovely wife (Gloria Shea) and infant son. One day a reckless chariot runs down his small family and changes his life for good, as Marcus lacked the funds for immediate medical attention. But one does wonder where the Roman "police" were as there was an effective court/justice system. Anyway, the embittered Marcus decides that making money has become all-important (character change number one). As he has good size and quickness, he becomes a gladiator and earns much money. Upon discovering that one of his dead opponents left a young son, now an orphan (Flavius = David Holt), Marcus decides to adopt the handsome and helpless lad. Now adoption was not unusual in ancient Rome (but another character change for Marcus). Later, after being wounded in gladiatorial combat, Marcus can no longer compete in the arena. He becomes a trader in slaves and horses and becomes wealthy. Meanwhile an old woman, an oracle, tells him to go to Judaea to meet the greatest man in the world. Believing in a special prophesy, Marcus takes his young son to the Levant where he catches glimpses of Christ's Crucifixion. Marcus, though, meets with the local procurator, Pontius Pilate (Basil Rathbone), whom he believes is the great man (even though Christ had cured the ailing Flavius). When he is back at Pompeii, an older Marcus becomes the administrator of the arena spectacles. But by now his grown up son (Flavius = John Wood) has heeded the Christian message. Flavius aids runaway slaves to gain their freedom in far away locales, like Britain. A complication arises when the Romans conquer the island. Eventually Flavius is caught, imprisoned, and sent into the arena for his "crime." The helpless Marcus is unable to free his son. During one of the arena spectacles, Mt. Vesuvius erupts, sending the population into a general panic. It is up to Marcus to make a right decision (another character change) and redeem himself.Preston Foster's performance is adequate. Basil Rathbone, a fine actor, performs the role of Pontius Pilate nicely, especially the procurator's quandary. Pilate knew that Jesus was innocent of the trumped-up charges, but was afraid of the people's reaction. He washed his hands in front of the mob (who, by the way, demanded that the criminal Barabbas be freed instead). Despite the bad decision, Pilate's philosophical and sensitive treatment is closer to reality than realized. The movie has a few flaws, especially the dating problem. My own research places Christ's Crucifixion on 5 April 33 AD (experts overwhelmingly place the year between 30 and 34 AD). Now it is an historical fact that the volcanic eruption of Mt. Vesuvius and destruction of Pompeii and Herculaneum occurred on 24 August 79 AD, or 46 years later. But the movie treats these two events as if they occurred just a few years apart from each other! Furthermore Pontius Pilate died around 38 AD, long before the eruption. There is also a difficulty with some of the Roman costume designs of Aline Bernstein. Furthermore the Romans never wore those globe-style caps although the Montefortino type of helmet did have a conical shape (like the Gallic model) but with a raised central node. Also Gaius Tanno's name is pronounced like GUY-USS, not GAY-US; Fabius is FAB-I-USS, not FAY-BIUS. Nevertheless, the historical inaccuracies do not detract from the entertainment value of the film. For the 1930s period the sets are good-looking, and the script is acceptable. Also, the special effects of Harry Redmond and Vernon L. Walker of the destruction of Pompeii are fine (and expensive) for 1935. The picture is accurate in showing that defeated gladiators did not always die in the arena (as their upkeep and training cost much money). Finally it was most interesting to see western celebrity Yakima Canutt's name as one of the stunt-men.

wes-connors In the old Roman Empire city of Pompeii, brawny blacksmith Preston Foster (as Marcus) suffers a great family tragedy. Desperate for money, Mr. Foster reluctantly becomes a gladiator; he is uncomfortable killing defeated opponents, but must make a living. Wracked with guilt, Foster adopts pre-teen David Holt (as young Flavius) after killing his father in a fight. Foster can no longer fight competitively and makes money trading slaves and horses. He eventually becomes very prosperous...Foster is unaware he is living during the time of Jesus Christ, who has a following. An old woman instructs Foster to take his son to see the "greatest man" in Judea. Foster considers this to be "prophesy." He crosses paths with Christ, but believes the greatest man is more likely the governor of Jerusalem, Basil Rathbone (as Pontius Pilate). Foster begins working with the notorious leader. After the Christian crucifixion, Foster's son grows up to be John Wood (as Flavius) and clashes with his papa...Other than the ending eruption, "The Last Days of Pompeii" completely re-works the plot (of the original novel by Edward George Bulwer-Lytton). It's a good (perhaps better), Christian-focused revision, though sometimes stodgy in the production. The concept of slavery is changed, which is nice. Original thinking was that the mistreating of slaves was bad; nice people treated them nicely, and bad people treated them badly. Also, Mr. Rathbone's "Pilate" is given more depth in characterization...God, however, is still in firm control of natural disasters.****** The Last Days of Pompeii (10/18/35) Ernest B. Schoedsack ~ Preston Foster, John Wood, Basil Rathbone, David Holt

Melvin M. Carter This film, Quo Vadis,Sign of the Cross, are as stiff as the statuary on display. Basil Rathbone could of played the noble Roman in all of them because the leads in them, and I forgotten The Robe, once they get their eyes lifted on The King of Kings, the excitement just leaves their characters,the main thrill being which hand they'll raise heavenwards. But at least the heathens were having a fine time in the others for there was sex, hints of sex, or the idea that you should be having sex while watching the movie. But not in The Last Days of Pompeii. Until the climax (hehehe)there's not that much stabbing and slashing either. There are scenes of something was going to happen in the arena, or a village in the ancient Sudan had been raided, or some horses stolen from across the old Roman Palestine border but nothing else. TLDP seemed more like reverential church theatrical production than a motion picture aiming to at least show how a particular era was like while giving everyone in the audience a well done Roman freaktopia (in my case Claudette Colbert was never a hoochie doll again after the asses' milk bath in Sign of the Cross)or something on the line of the television show I,Claudius, a story that was believable told by excellent actors only Basil Rathbone deserved that title in this one.

margot-6 I first saw this film when I was a child and the impact it had on me has never faded no matter how many times I watch it, nor at what age. Every time I find some nuance I had not noticed before...it really is an unsung masterpiece. Try to see it with eyes unjaded by years of excess on the movie screen...for its time it had great special effects..a wonderful script, interesting casting...none so much as Basil Rathbone as Pontius Pilate..I have never seen better! Basil imbues Pilate with a sense of duty and conscience that fills the screen with its irony and pain at his dilemma. Marvelous! Preston Foster is often forced and hammy...but it did not distract from the enjoyment of the movie..in fact it was "a style" of acting in the thirties that many leads presented..actors like Fredrick March, etc had the same style...a leftover from the silent age when actors, in order to convey their sentiment used their body more to propel their feelings to the screen. An exaggeration of movement that lasted for a number of years until the realization hit that on the big screen with sound actors could be more subtle with their gestures. The story is , in content wonderful...holds my attention even after all these years of viewing. It is a fascinating story...a progression from a happy, hard working man with everything he could ever want, who loses it all in a very few days for lack of money. Bitter and lost, after having lost not only those he loved but losing his principles too to try to save them, he decides the only thing worth having is money..because it is the only thing that PROTECTS you. In the backround to all of this is the story of the Christ...not meant to be in the foreground but a backdrop to everything that happens to this man struggling with the heavy burden of his reality and his decisions. This is a beautiful film worthy of repeated viewing for its amazing messages...and there are many. This is a thinking man's film, a philosopher's film, a spiritualist's film, and a film for every man and woman searching for answers to the question "why?" What it ultimately leaves you with is HOPE. This is a KEEPER.