Sodom and Gomorrah

John Chard

2019-09-10

50%

Can the Hebrews and the Sodomites co-exist? Sodom and Gomorrah is directed by Robert Aldrich and co written by Hugo Butler and Giorgio Prosperi. It stars Stewart Granger, Stanley Baker, Pier Angeli, Rossana Podestà, Giacomo Rossi-Stuart and Scilla Gabel. Music is by Miklós Rózsa and cinematography by Silvano Ippoliti, Cyril J. Knowles and Mario Montuori. The Last Days of Sodom and Gomorrah. Regardless of the fact it leaves some of the Bible story behind, it simply is not a good film. It's a tired Biblical epic that finds Granger and Baker manfully trying to ignore how low they have got as they are surrounded by a bunch of no mark actors trying to make a sword and sandals piece work. It lacks dynamism, the Euro production barely masking what a elongated bore the story is. It looks nice at times, the great Ken Adam creating some eye pleasing sets and the location photography (Morocco/Italy) provides a suitable backdrop, but come the hokey and cheap looking finale you realise there's been too much talky intrigue and not enough pulse raising. 5/10

CinemaSerf

2024-11-19

60%

Given the cast and what looks like a decent allocation of resources, this ought to have been much better. As it is, it is very much a poor cousin in the family of biblical epics - despite the fact that it has one of the better stories from the Old testament. Lot (Stewart Granger) is the leader of the Hebrews who rather naively believes that he and his tribe can peacefully co-exist with the rather decadent and profligate Sodomites under their Queen (Anouk Aimee). Stanley Baker (Astaroth) provides the jealousy and plotting and Pier Angeli the smouldering glamour. The tale is pretty much faithful to the Genesis chapters from which it comes, but it is a very slow-burning, stodgy affair that takes an age to get going. Baker (not often said) is by far the more engaging character of the four leading roles, otherwise it is really just a lavishly staged and costumed portrayal of decadence and luxury with an instantly recognisable score from Miklós Rósza. Granger was a class act on screen; he had charisma in spades which he uses to less effect here but he still lends enough presence to keep this from being a total write off.