Samson and Delilah (1949)

Biblical epic that became the biggest hit, up until then, in Paramount Pictures history. The story about the Hebrew Hercules Samson, Victor Mature, who redeemed himself from a life of foolhardiness and slavery by taking down the Temple of Dagon, the Philistine Idol God. Samson not only destroyed Dagon's temple he took the lives, together with his own, of 3,000 of his bitter enemies and tormentors in the movies', Samson and Delilah, spectacular and ground shaking final scene.

Never living up to what God wanted from him, to lead his people the ancient Israelites against the hated and occupying Philistines, Samson instead lead a life of womanizing and partying mostly with the Philistines who more then anything else wanted him dead. Because of his super-human strength Samson felt safe from anything that the Philistines could do to him, killing hundreds who tried, in capturing or killing the biblical strongman.

It's when the Philistine temptress the drop-dead gorgeous Delilah, Hedy Lamarr, got to work on the big guy that he left himself open to be captured, by the Philistine army, in revealing the source of his strength; His black curly locks of hair on his head. Blinded, with a red hot iron put to his eyes, Samson was then forced to pull the grind-mill and made to look helpless as he was brutally mocked and tortured by his Philistine captors.

As the days weeks and months went by and his hair, the source of his great strength, grew back Samson with Delilah's, who had since repented what she did to him, help then planned to finish the job that he never really started; annihilate his and his peoples enslavers the hated Philistines. Samson did it by, with Delilah's leading him to them, tearing down the pillars that held up Dagan's temple and thus bringing the entire house down.

The film "Samson and Delilah" still holds up quite well despite it's bargain basement, compared to those now, special effects. Victor Mature as Samson was at his best being able to show off his hunky body without having to wear a suit and tie, as well as pants, like in his previous blockbusters "Kiss of Death" and My Darling Clementine". Heady Lamarr in her first Technicolor movie showed why she was considered to be, just get a load of her violet/lavender eyes, the most beautiful women in the world at that, back in 1950, time.

The movies director Cecil B. DeMille really had very little to go on in making the biblical blockbuster in that it was based on only four chapters, the 13 to 16, of the Book of Judges. It was an obscure 1930 German language novel "the Judge and the Fool" by Vladimir Jabotinsky that filled in all the gaps and made a full length two hour plus film about the subject, Samson & Delilah, possible.

Fmovies: Of all the movies one should have in one's library of Classics, this is one of them. The story is taken directly out of the pages of the Bible and deals with the legendary strong man who was also a Judge of his people. When taken to the big screen, one has to marvel at the beautiful color, historical setting and technical expertise of the time period. The lead of course is played by tall, handsome Victor Mature. His presence adds realism is an honorary tribute to the ancient Danite and makes for a convincing character. The ruler of the Philistines is played by George Sanders who is incredible in his 'King of the Five cities' role. Samson's principle adversary is Henry Wilcoxon, playing the Lord Ahtur, who was originally cast in the title role. The director thought him too old and passed on a great opportunity as I believe Wilcox would have been terrific as Samson. Hedy Lamarr plays the seductive temptress and conniving Courteson, Delilah, while Angela Lansbury plays Semadar, Samson's love interest. Although Cecil B. Demille takes much literary license with the storybook Samson, it's still interesting to watch and with its memorable theme music, hauntingly inspirational. The overall result is a true Classic which no one should miss if given a chance to watch. Despite it's shortcomings, it remains as impressive today as it was in the 1950's. Highly recommended. ****

This film is a must for everyone who loves Technicolor, great actors and great movies. Mature is a wonderful Samson but Hedy Lamarr is the definitive incarnation of beauty. She is also a very good actress and directed by De Mille gets her screen triumph. Watch this over and over again and you'll not be tired.

Samson and Delilah fmovies. Cecil B. DeMille is best remembered for his biblical epics, even though in a forty-year, eighty-film career he only made four of them. It wasn't just that the bible pictures gave him some of his biggest hits; it was in these features that DeMille seemed most at home, and the one genre in which he had unique ability.

Samson and Delilah brought an end to a long phase of epic-cum-adventure movies from DeMille. This period, beginning with The Plainsman in 1936, had some of the weakest pictures of his career for a number of reasons. For one thing, DeMille was not really very good at individualistic action scenes, and there was too much DeMillean historical grandeur and not enough of the free-spirited feel of the Errol Flynn or Tyrone power swashbucklers he was to some extent an trying to copy. What's more, these were mostly original stories or, at least, ones which were not well known, and DeMille's poor choice of source material and screenwriters meant the new characters and situations tended towards the feeble. DeMille's strength lay in his staging and presentation of a familiar tale, and as such his return to Sunday-school moralising, stuffy and pompous though it may be, is apt and welcome.

You see, DeMille was probably aware on some level that although these fables were well-known in a largely Christian society, to a modern audience they were also historically distant, emotionally neutral and even ridiculous when presented literally. But DeMille never attempted any humanity or realism in his features, instead turning the remote, mythical nature of the stories into a virtue, portraying his subject matter with a kind of dignity and grace. Of course most ancient world epics do this to some extent, but DeMille did it the most effectively because he never demanded that the audience sympathise with the characters, merely that we marvel at their deeds.

Specifically, DeMille composes the picture with overstated gesturing and painterly tableau, like a Gustave Dore print come to life. This is combined with the vivid colours of a bible stories illustration, coded with drab shades for humbleness and virtue, garish ones for extravagance and sin. Throughout, DeMille's flair for dreamlike, rhythmic motion keeps the images flowing, most notably in the establishing tracking shot at the wedding feast - although if you watch closely you'll see one of the two men engaged in a mock swordfight is actually camply slapping his opponent with a feather duster.

And DeMille was perhaps unique in that he even used the imagery to turn God into a character. You can see from one of his much earlier religious pictures, 1929's The Godless Girl, that DeMille associated God with natural beauty, and in Samson and Delilah God makes several key "appearances" as a breathtaking skyscape. This touch would be expanded upon in the 1956 version of Ten Commandments.

It's a pity DeMille didn't associate God with good acting, because even the theatrical presentation on offer here could do with at least some half-decent hamming. The trouble is DeMille chose his actors for their physicality, not for their ability to qualify their job description. In this respect Victor Mature and Hedy Lamarr are natural choices. DeMille's business associate Henry Wilcoxon, whom the director unbelievably used to cast in lead roles, is as wooden as ever, and the somewhat hit-and-miss Angela Lansbury, misses this time. The only standout is George Sanders who proves, just as Herbert Marshall did in DeMille's

I've always loved this film. Granted, somehow it does not generate the 'huge epic' feel of some of the director's other work but it is a great film to sit down and relax in front of. Opulent costume design, good casting and excellent cinematography make this one of the better biblical epics that were being produced at the time.

Victor Mature, a fine physical specimen of the male physique, seems to fit perfectly into the role of the brooding and oft-troubled Samson. Burt Lancaster, I'm told, was the original choice for the part which I think would have been a bad choice. Although Lancaster is a better actor, on purely aesthetic grounds, the Mediterranean featured, tousle-locked Mature fitted better into the location.

George Sanders is superb as the Saran of Gaza. One of the other reviewers on this website said he portrayed a "sophisticated cad" which is the best description I have ever heard of Mr Sanders in this role or any other for that matter.

The absolute star of the show is the movie's other lead actor, Hedy Lamarr. This was undoubtedly the finest hour of an actress who either, curiously passed up or was just overlooked for many other leading parts. Hedy sets the screen on fire as the sensual and wicked Delilah, playing with and dragging every man on screen and in the audience in her wake. Many have questioned her acting ability. Truth is I doubt we shall ever really find out. Poor choice of scripts and directors resulted in her being pushed to the sidelines at MGM and eventually and sadly into complete obscurity.

I've seen this movie many times. It is not extraordinary in any technical manner; the magic it weaves, is about the the stars, Hedy Lamarr and Victor Mature. Hedy Lamarr absolutely was a fantastic choice for this role. Imagine Betty Hutton playing Delilah; yes folks, it almost happened, and I am sure the movie would turned out to be absolutely ridiculous. Paramount did not spend big bucks for this movie, this is quite obvious; but with Lamarr as Delilah and Mature's Samson, this became a major example star-power. George Sanders won the acting laurels here. He was the quintessential powerful man; who understood that he could never completely dominate Delilah. Angela Lansbury was O.K., in a minor role. Edith Head effectively designed the costumes for Hedy; sexy, but not overwhelming (think Irene Shariff's over the top designs for Liz Taylor in Cleopatra). Hedy was sultry, sexy in a subtle and an utterly believable way; Mature was strong, the epitome of masculine strength, and totally confident that he could control and have his way with any woman. If Paramount and DeMille had agreed to add at least $1-2,000,000 to the budget; I think the film would have even been a bigger blockbuster than it was. Folks, this films was among the top five moneymakers, after its first release. Only Gone With The Wind, The Best Years of Our Lives, Duel In The Sun, and maybe Snow White. As of 1/51, S&D was in the top money-makers of all time. Pretty good for a half-bakrd effort and investment from Paramount and DeMille. Lamarr+Mature = 9/10, in my book.