The Great Commandment (1939)

Director:

Irving Pichel

Writers:

Dana Burnet (story)
Dana Burnet (screenplay)

Genre:

Drama

Plot Keywords:

Longinus | 1st Century | Christian Film | Christianity | Religion

Cast

John Beal	...	Joel
Maurice Moscovitch	...	Lamech (as Maurice Moscovich)
Albert Dekker	...	Longinus
Marjorie Cooley	...	Tamar
Lloyd Corrigan	...	Jemuel
Warren McCollum	...	Zadok
Ian Wolfe	...	Tax collector
Olaf Hytten	...	Nathan
Anthony Marlowe	...	Singer
Lester Sharpe	...	First Zealot (as Lester Scharff)
Marc Loebell	...	Judas (as Marc Lobell)
Harold Minjir	...	Andrew
Earl Gunn	...	Wounded Man
Albert Spehr	...	Second Zealot
George Rosener	...	Merchant
John Merton	...	Under-Officer
Perry Ivins	...	First Elder
D'Arcy Corrigan	...	Blind Man
Max Davidson	...	Old Man
Stanley Price	...	Second Elder

Directed by
Irving Pichel

Writing credits
Dana Burnet		(story)
Dana Burnet		(screenplay)

Produced by
John T. Coyle	....	producer
James K. Friedrich	....	associate producer (as Rev. James K. Friedrich)

Original Music by
Walter Jurmann		(as Walter Jurman)
Hans J. Salter

Cinematography by
Charles P. Boyle

Film Editing by
Ralph Dixon

Art Direction by
Edward C. Jewell

Second Unit Director or Assistant Director
Peter Jones	....	assistant director

Sound Department
Hal Bumbaugh	....	sound

Music Department
Hans J. Salter	....	musical director

Other crew
James K. Friedrich	....	presenter

Production Companies

• Cathedral Films

Distributors

• Twentieth Century-Fox Film Corporation (1941) (USA) (theatrical)
• Republic Entertainment Inc. (1991) (USA) (VHS)
• VCI Home Video (2000) (USA) (VHS)
• A2ZCDS.com (2005) (USA) (DVD)
• Trinity Broadcasting Network (TBN) (2005) (USA) (TV)
• Alpha Video Distributors (????) (USA) (DVD)

Runtime:

78 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Filming Locations:

Lone Pine, California, USA

Company:

Cathedral Films

Trivia:

Rev. James K. Friedrich produced this picture in order to portray a "correct" version of the crucifixion. After PCA censor Joseph Breen voiced concerns about the onscreen representation of Jesus, producer John T. Coyle decided to eliminate Jesus as an onscreen character and to use the camera's point of view to represent him instead. The picture was not released nationally until 1941, but had its previews in Joplin, MO, and at the Ambassdor Theater in Los Angeles on 2 Oct. 1939

Movie Connections:

Followed by The Living Christ Series (1951)

THE GREAT COMMANDMENT (Irving Pichel, 1939) **1/2

The oldest, yet longest, of the four religious films commissioned by various Christian groups that I watched (I opted not to go through too much 'straight' stuff while waiting for the result of the General Elections over here!) actually had the backing of one of the Hollywood majors – Twentieth Century Fox. The familiar events of The Passion are played out as a backdrop to the main narrative – that involving a couple of zealot brothers who clash over their mission (the impulsive younger sibling wants to act now while the more practical older one, played by John Beal, wants to wait for the arrival of The Messiah); the latter also falls out with his father because he has in mind for him to become a scholar while marrying off Beal's sweetheart to his brother! Eventually, he sets out to find Jesus and offer him his sword of allegiance – but he slowly comes to understand his message of Peace and Love. Also involved is a Roman officer, well played by Albert Dekker: as it turns out, Beal's brother winds up dead after an attempt on Dekker's life (who is crippling the Jews with taxes, gathered by the "snivelling" and typically slimy Ian Wolfe); however, Beal – inspired by his new faith – takes care of the wounded Dekker who, noticing the Jews' confusion and anger at Beal for his conduct, decides to lock him up. During his tenure in jail, it transpires that Christ was tried, convicted and crucified; still baffled by Beal's behavior, Dekker asks him to explain – the catch is that the person who 'converted' Beal towards helping even his enemies turns out to be the very same one in whose side Dekker had just driven the proverbial spear!