Review of El Cid (1961) by Jeffrey D — 04 Nov 2008

While it may not be the greatest epic film of all time when compared to other classics like THE TEN COMMANDMENTS, SPARTACUS, LAWRENCE OF ARABIA, STAR WARS and the LORD OF THE RINGS trilogy, EL CID, directed by Anthony Mann, is one of the rarest of films, an epic that continues to get better with age and still provides something new no matter how many times you watch it.

It marks the peak of producer Samuel Bronston, that same fine lad whose other period epics of beauty and unique craft include JOHN PAUL JONES, 55 DAYS AT PEKING and KING OF KINGS (both directed by REBEL WITHOUT A CAUSE's Nicholas Ray) and THE FALL OF THE ROMAN EMPIRE (also directed by Mann, and a film that inspired Ridley Scott's GLADIATOR in 2000).

It also signals the peak of its director Mann (whose credits include the darkly-stylized westerns MAN OF THE WEST and THE FURIES), while adding enormously to the careers of its lead actors Charlton Heston and Sophia Loren, composer Miklos Rozsa (whose music for this and KING OF KINGS surpass his Oscar-winning credits for Alfred Hitchcock's SPELLBOUND and William Wyler's BEN-HUR), film editor Robert Lawrence, cinematographer Robert Krasker (THE THIRD MAN, HENRY V), and production-costume-set designer Veniero Colasanti (FABIOLA).

The story and screenplay, co-written by Bronston collaborator Phillip Yordan, is intelligent and emotionally overwhelming as it follows the account of Rodrigo de Bevar, aka "El Cid" (Spanish for "brave and valiant man"), who united the Christian and Moorish kings and subjects of Spain to protect the country from the threat of invasion by the moors of Africa, led by Herbert Lom in deeply menacing form as Bin Yosef.

Loren shares exquisite chemistry with Heston as Ladonna Germayne, with whom 's Heston's hero shares a conflicting romantic pattern in light of her father's death, but which is fortunately resolved before the intermission arrives.

And while Heston is regarded today by some to be a mediocre actor, his screen presence and booming charisma makes him more than "merely acceptable" in the title role - it's one of his best performances.

The epic battles, while devoid of the CGI that distinguishes today's actioners (especially those in the science-fiction, fantasy and epic genres), still hold their own and appear to be even more authentic and just as equally intense.

Rozsa's score perfectly blends marching themes with those of romance and divinity, while Mann's direction and the lavish production scale add to the quality of the "lost art" that distinguishes this effort.

Don't miss it the next time it comes to the big screen - it's meant to be seen that way and appears to have gained more impact from that aspect. Look for Verna Fields (Oscar winner for her editing work in JAWS) as sound editor in the credits!