Biblical tales old and new abound during Lent

Vintage biblical epics sprout like daffodils during Lent, which begins with Ash Wednesday on March 5.

But one of the most visible of those re-blooming buds over the years, Cecil B. DeMille’s 1956 “The Ten Commandments,” is taking Easter weekend off this year. It’s still available on streaming platforms after being an ABC-TV staple of Holy Week and Passover for more than half a century, beginning in 1973.

The acting is over the top, but that’s the fun. Who wants to see nuance from Yul Brynner as Ramses II, Charlton Heston as Moses, Anne Baxter as Nefertari, and Edward G. Robinson as Dathan snarling, “Where’s your Messiah now?”

Classic! Quotable! And when Heston spreads his arms wide to part the thundering Red Sea – what more could you want?

Like “The Ten Commandments,” Scripture-based epics with big-name actors are mostly a thing of the past — think Gregory Peck and Susan Hayward in in 1951’s “David and Bathsheba” and Victor Mature and Hedy Lamarr in 1949’s “Samson and Delilah” as well as Jeffrey Hunter as Jesus in 1961’s “King of Kings.”

One of the last big-screen attempts, Richard Gere in “King David” in 1985, was a notorious bomb. Mel Gibson’s 2004 “The Passion of the Christ” inspired many but also stirred controversy.

Yet the TV series “The Chosen,” with Jonathan Roumie as Jesus, has been a long-running success since its 2017 pilot and first season two years later. The newest episodes, dealing with the Last Supper, will have a three-part theatrical release beginning March 28.

Two other new productions downplay epic elements to focus on intimate narratives. They also take on the challenge of inserting non-Biblical elements to flesh out the scriptural accounts.

The directors of both “House of David,” a miniseries on Amazon Prime that will become available on Feb. 27, and “The Last Supper” (Pinnacle Peak), in theaters beginning March 14, put great effort into making their settings realistic and developing three-dimensional characterizations.

Mauro Borrelli, an Italian Catholic and former altar server, began to paint at age 7, instructed by a monk, and studied classical painting at the Academy of Fine Arts in Venice. His art design for movies has included “Batman Forever” (1995) and Tim Burton’s “Planet of the Apes” in 2001.

His recreation of events surrounding the Last Supper, a gathering of such significance that it’s described in all four Gospels, has Jamie Ward as Jesus, Robert Knepper as Judas and James Oliver Wheatley as St. Peter.

Of the script, co-written with John Collins, Borrelli told OSV News, “I don’t know that you can really improve Scripture, but you could add something.”

He enjoyed filling in spare details: “What did these people eat? Who served? I wanted to be accurate. I didn’t want it to be an interpretation.”

The film is told from the standpoint of Peter who, in a moment of weakness, denied ever knowing Jesus. “As a human being, we can’t always think that we’re strong,” Borrelli commented.

As for the portrayal of Jesus, “I wanted to keep him on a pedestal. I didn’t want to humanize him too much,” he said. Having Jesus manifest “a spiritual aura all the time,” Borrelli thought, kept the story faithful to the Gospel narratives.

Judas “is much weaker” than Peter, he observed, “and sensitive, intelligent. But he was being targeted by Satan.” Peter “overcomes his struggle, but Judas does not.”

Reflecting on the institution of the Eucharist, Borrelli commented, “‘This is my body, this is my blood.’ You hear it (at Mass) all the time. But so familiar, It loses its meaning, you know?”

So he felt he had to make a direct connection in the script. By doing so, he gained a new insight into the meaning of Jesus’ words.

“Jesus’ blood now is replacing that lamb’s blood (of Passover). Here Jesus came to pay all the debts (for human sin) with his sacrifice. I never really realized that before. A payment for the full debt. It was a revelation for me.”

The story of David, the shepherd boy and future king of Israel who slew the Philistine giant Goliath, takes up only one chapter of the First Book of Samuel. Its staying power is built on David’s strong faith while Goliath is not only taunting David but also flouting God’s authority.

David, a country lad and unheralded warrior, needed only one stone in his sling to kill the giant. The story is so familiar that it’s often regarded as material most easily appreciated by children — almost all of whom can likely relate to the tale of an underdog standing up to a mocking bully.

There have been three film versions, notably one from 1960 in which Orson Welles played King Saul, David’s father-in-law who united the Hebrew tribes into a single nation, as sort of a hammy King Lear.

It’s one of the Bible stories that makes an easy transition to film, with a substantial cast, prophecies, kings, hard-charging desert battle scenes with javelins and shields, and the “six cubits and a span,” i.e., nine-foot, nine-inch, Goliath of Gath — terrifying to Saul and his army, but not to David.

Michael Iskander, of late a cast member of the Broadway musical “Kimberly Akimbo,” is the brooding David anointed by the prophet Samuel (Stephen Lang). Israeli actor Ali Suliman is Saul and six-foot, eight-inch bodybuilder-turned-actor Martyn Ford, through special effects, towers even higher as Goliath.

The series avoids anything that can be described as a reference to contemporary Middle East politics and stays focused on one boy’s challenge.

Showrunner Jon Irwin, who co-directed with Jon Gunn, told OSV News he regards the biblical David as similar to the fictional Luke Skywalker, Frodo Baggins and Harry Potter — all of them underestimated before they were heroes. Early on, David is told, “You have the heart of a lion.”

Quite a bit of attention went into Goliath’s appearance, Irwin said. “What would a giant have to look like to have an army frozen in fear for 40 days?” he asked. Fortunately, he said, Ford’s appearance “really is unbeatable.”

Close consideration also was paid to the sling and the stone, in order to make it believable that such a weapon was all it took to kill Goliath. A specialist in ancient warfare was called in to make sure the stone was flung with enough realistic force so that it “embedded itself in his brow, and he fell on his face to the ground” (1 Sm: 17:49).

Irwin, an Alabama Protestant who has co-directed other faith-based fare, including 2020’s “I Still Believe” and “Jesus Revolution” (2023), said he had “wanted to tell this story since I was 16 years old” when, during a family trip to the Holy Land, he visited King David’s tomb in Jerusalem.

The production, financed by Amazon MGM Studios, has the resources “to really do it justice.” He calls it “a testament” to earlier biblical epics, but not one that owes anything to other film versions of the David and Goliath story: After all, “There’s not really a definitive (screen) version of that event.”

Like most scriptural tales, the passage in First Samuel is a spare account, requiring some elaboration and a lot of non-biblical dialogue. Irwin said the goal was to “do the story that justified the events that are on the page. It’s a love letter to the source material.”

He points out that the psalms of the mature David “are the most relatable words you’ve ever seen. A man wrestling with himself and his feelings, frustrations and regret.”

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