While having some very major flaws, this is a thoroughly decent biblical epic on the story of Samson and Delilah. It is nicely filmed, with lovely costumes, nice sets and good cinematography and has a rousing score. Also the acing is not bad at all, Victor Mature is a dashing Samson and Hedy Lamarr pretty much steals the film as the beautifully captivating Delilah, it somehow reminded me of Rita Hayworth in Salome. George Sanders proves here he is the epitome of calculation and world-weariness, and while Angela Lansbury is good she has been better. Plus the final scene with the temple coming down is brilliantly staged and serves as the highlight of the film. However, the script is not always that great, neither is the pacing which is quite slow or the direction which is disappointingly stodgy. Overall though, Samson and Delilah isn't bad, it could've been better, but it was decent. 7/10 Bethany Cox
90 Reviews
NOT Another run of DeMille Picture
bkoganbing11 August 2004
By the time the 1940s were rolling around, Cecil B. DeMille was doing a lot less work, but the work was getting more expensive. DeMille took off a couple of years now between films to create the opulent splendor that typifies his work.
Well Samson and Delilah abounds in opulence. The color cinematography is first rate and reason enough to see the film. Of course it has the usual stilted dialog that is common in DeMille's costume work. But one has to remember that DeMille made his show business bones with David Belasco in the Edwardian era. And that's how folks talked in those Belasco plays.
Acting honors in this go to George Sanders as the Saran of Gaza, Philistine ruler and sophisticated cad. This was the height of Sanders career, he received a Best Supporting Actor Oscar for All About Eve the same year. I think the Saran and Addison DeWitt would have understood each other very well.
Angela Lansbury is the original object of Samson's lust and she does okay, but personally if you had the choice between Jessica Fletcher and Tondelayo, who would you choose? Is that ever a no-brainer.
DeMille got a couple of loan-outs to play the leads. Hedy Lamarr could easily lay claim to be the most beautiful woman in the cinema. She never had much acting skill, but all she has to do is be seductive and that no one could do better.
And Victor Mature away from his home studio of 20th Century Fox where he was languishing, Samson and Delilah provided a whole new vista for him with roles in spectacle pictures where he could truly be that beautiful hunk of man.
Fay Holden is good as Samson's mother. In modern times I can just hear her telling him about settling down with a good Jewish girl.
Well Samson and Delilah abounds in opulence. The color cinematography is first rate and reason enough to see the film. Of course it has the usual stilted dialog that is common in DeMille's costume work. But one has to remember that DeMille made his show business bones with David Belasco in the Edwardian era. And that's how folks talked in those Belasco plays.
Acting honors in this go to George Sanders as the Saran of Gaza, Philistine ruler and sophisticated cad. This was the height of Sanders career, he received a Best Supporting Actor Oscar for All About Eve the same year. I think the Saran and Addison DeWitt would have understood each other very well.
Angela Lansbury is the original object of Samson's lust and she does okay, but personally if you had the choice between Jessica Fletcher and Tondelayo, who would you choose? Is that ever a no-brainer.
DeMille got a couple of loan-outs to play the leads. Hedy Lamarr could easily lay claim to be the most beautiful woman in the cinema. She never had much acting skill, but all she has to do is be seductive and that no one could do better.
And Victor Mature away from his home studio of 20th Century Fox where he was languishing, Samson and Delilah provided a whole new vista for him with roles in spectacle pictures where he could truly be that beautiful hunk of man.
Fay Holden is good as Samson's mother. In modern times I can just hear her telling him about settling down with a good Jewish girl.
The man has the strength of a Devil! No he has the strength of a God!
sol-kay24 February 2008
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.
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.
Engrossing, vivid,absorbing and a tribute to the Old Testament
Charlie-12318 June 1999
In 1949, I was 11years old and saw it in NYC when it was first released. My aunt Ethel, may she rest in peace, took me during Christmas vacation. I was mesmerized by it which led me to check out the story in that Chapter of the O.T. called Judges. And I remember being asked by my 6th or 7th grade teacher to do an oral report about the film before the class. I found it a bit awkward to discuss the idea of seduction at that time especially when I heard the pubescent girls giggling. At any rate I did make that report and remember displaying the book I had bought about the film right at the theater. I estimate from age 11 to 14, I saw the film a dozen times and I'm not kidding. In my adulthood, I saw it once on free TV and rented it once for kicks. Quite honestly, I never saw a more beautiful woman than Hedy in that role. And Victor was perfect thanks to his countenance and physique. After seeing it first and then reading the story in the O.T. I came to the conclusion that the film certainly was factual and illuminating. The bible came alive thanks to the genius of Cecil B.DeMille. The special effects were brilliant, way ahead of its time. What I especially loved about this film was the haunting score by Victor Young and I do remember going out to buy it on 78 rpm disks. And I do have the radio program on cassette, "Lux Presents Hollywood-Samson and Delilah starring Mature and Lamarr. That last scene will always stick in my mind as Samson, standing blind between the two main pillars of the Temple of Dagon, the Phillistine God,called on Jehovah to give him the strength to crush his enemies and WHAT A SCENE FOLLOWED. Good heavens, DeMille was indeed a GENIUS! I recommend the film to EVERYONE because of the amazing story, color
"What invisable power strikes through his arm?"
Steffi_P29 June 2009
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 Four Frightened People, that bad dialogue becomes bearable if you underplay it.
Fortunately when it came to crew DeMille always procured the best. Samson and Delilah boasts Oscar-winning costumes and art direction from no less personages than Edith Head and Hans Dreier respectively. The Technicolor cinematography is great, with some remarkably clear night time shots. Some of the effects may be a little dubious; whenever Victor Mature lifts up something heavy it's obvious it's being hoisted from offscreen, and that woolly-rug/lion tamer scene is actually betrayed by bad editing, but overall this is a solid, high-quality production.
Yes, Samson and Delilah is as corny as anything, but it looks great, and above all it entertains. Don't be too harsh on DeMille's staginess or his archaic moralism, for as his willing appearance as himself in Sunset Boulevard proves, he probably didn't have a sense of irony. And his earnestness was probably his greatest asset.
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 Four Frightened People, that bad dialogue becomes bearable if you underplay it.
Fortunately when it came to crew DeMille always procured the best. Samson and Delilah boasts Oscar-winning costumes and art direction from no less personages than Edith Head and Hans Dreier respectively. The Technicolor cinematography is great, with some remarkably clear night time shots. Some of the effects may be a little dubious; whenever Victor Mature lifts up something heavy it's obvious it's being hoisted from offscreen, and that woolly-rug/lion tamer scene is actually betrayed by bad editing, but overall this is a solid, high-quality production.
Yes, Samson and Delilah is as corny as anything, but it looks great, and above all it entertains. Don't be too harsh on DeMille's staginess or his archaic moralism, for as his willing appearance as himself in Sunset Boulevard proves, he probably didn't have a sense of irony. And his earnestness was probably his greatest asset.
Pretty Impressive
skallisjr20 May 2005
Warning: Spoilers
This is one to see on a large screen. I first saw it when it came out in a theater,and the climactic scene was extremely impressive to a youngish teenager.
There was a lot of coverage of the film at the time, and Life magazine had a feature on it, including a pictorial of Mr. Demille showing Victor Mature the proper technique to use a jawbone as a weapon.
Possible spoilers follow.
In Demille's autobiography, he indicated how he used a sketch of a muscular hunk and a gorgeous woman to sell his underwriters on financing a Biblical film. He also related how he had his research staff scour historical documents to find a temple design that would collapse if its two main pillars were dislodged. The result is what's seen on the screen, though the collapse was aided by a few concealed charges.
Hedy Lamarr made an excellent Delilah, with the best of motivations for betraying Samson: she was spurned. This was set up before the wedding feast, where she enjoyed being with Samson, even though he wasn't paying attention. (I can't think of many functional and heterosexual males who would be that obtuse.) Although Victor Mature wasn't as beefy as later male stars like Steve Reeves or Arnold Schwarzennegger, this was okay because his strength was miraculous.
Naturally, the finale was spectacular, and that is what people went to theaters to see in a Demille film.
There was a lot of coverage of the film at the time, and Life magazine had a feature on it, including a pictorial of Mr. Demille showing Victor Mature the proper technique to use a jawbone as a weapon.
Possible spoilers follow.
In Demille's autobiography, he indicated how he used a sketch of a muscular hunk and a gorgeous woman to sell his underwriters on financing a Biblical film. He also related how he had his research staff scour historical documents to find a temple design that would collapse if its two main pillars were dislodged. The result is what's seen on the screen, though the collapse was aided by a few concealed charges.
Hedy Lamarr made an excellent Delilah, with the best of motivations for betraying Samson: she was spurned. This was set up before the wedding feast, where she enjoyed being with Samson, even though he wasn't paying attention. (I can't think of many functional and heterosexual males who would be that obtuse.) Although Victor Mature wasn't as beefy as later male stars like Steve Reeves or Arnold Schwarzennegger, this was okay because his strength was miraculous.
Naturally, the finale was spectacular, and that is what people went to theaters to see in a Demille film.
Still worth looking at
hepsut215 March 2003
Yeah...so some people may think it's corny and outdated. However, there is something about this movie, in spite of some of the poorer technical gimmicks...yet I still love it. I think that Lamarr does a great job as Delilah and don't understand why some think otherwise.I think she is/was the perfect Delilah..and Mature did a great job as Samson. Sanders was really terrific in his role and Lansbury carried out her part very well also. Call it what you will..but I find it is still worth watching; the color, costumes, Samson knocking down the Temple.. (love that scene!Good special effects for the time.) Whatever it is..I find myself watching it every now and then and still enjoy it as much as when I first saw it..
Samson & Delilah-Anyone See Similarities Between this & 10 Commandments? ***
edwagreen12 October 2010
Warning: Spoilers
Cecil B. DeMille had the tendency to use many of his actors over and over again. For example, Olive Deering played on his Lux Radio show. In the opening scene of the film, we see the old man who took a knife to his stomach in the mud pits of "The Ten Commandments," as well as Deering playing another character known as Miriam. Henry Wilcoxon, who was with DeMille from the silent era, was also in both pictures, both he and Ms. Deering had better parts in this film as compared to 'Commandments,' though the Sam & Delilah was not nearly as good as the latter.
Hedi LaMarr was wonderful as the temptress Delilah. Did anyone see that Ms. LaMarr was similar looking to Susan Hayward? There are some scenes there where I thought Hayward was acting.
This biblical drama brings back the idea of hell hath no fury as a woman scorned. Let's not kid ourselves, Mature, as Samson, had to be quite gullible to be taken in by Delilah. It is only after tragedy befalls him that she becomes the sympathetic character when it's obviously too late.
Victor Mature was a perfect Samson with his strength really showing. George Sanders is in rare form as the evil king. I question the casting of Angela Lansbury as Delilah's doomed sister. Lansbury would really prove herself as a quality actress years later, but lacks being provocative here. Also, she wasn't exactly a raving beauty. She does have the bitter quality that would serve her far better in her future work.
Remember the fragrance of myrrh? It's mentioned in both films-10 Commandments and this one. Apparently, DeMille did his homework.
Hedi LaMarr was wonderful as the temptress Delilah. Did anyone see that Ms. LaMarr was similar looking to Susan Hayward? There are some scenes there where I thought Hayward was acting.
This biblical drama brings back the idea of hell hath no fury as a woman scorned. Let's not kid ourselves, Mature, as Samson, had to be quite gullible to be taken in by Delilah. It is only after tragedy befalls him that she becomes the sympathetic character when it's obviously too late.
Victor Mature was a perfect Samson with his strength really showing. George Sanders is in rare form as the evil king. I question the casting of Angela Lansbury as Delilah's doomed sister. Lansbury would really prove herself as a quality actress years later, but lacks being provocative here. Also, she wasn't exactly a raving beauty. She does have the bitter quality that would serve her far better in her future work.
Remember the fragrance of myrrh? It's mentioned in both films-10 Commandments and this one. Apparently, DeMille did his homework.
Lamarr's beauty took audience's breath away...
Nazi_Fighter_David2 January 2000
Warning: Spoilers
Hedy Lamarr took the title role of Delilah and made it her own... She was full and sparkling as the Philistine temptress, the central figure of Samson's last love story, dark and troubled when she took advantage of Samson's confidence to betray him to his enemies, repent and full of love when she sees him blinded and disgraced... Her name has since become synonymous with a voluptuous treacherous woman...
Victor Mature was a mighty, troubled Samson, beset by conflicting emotions, totally dominated by a pagan woman... He teases with her, perhaps showing some smarts here for a change... He falls victim to his enemies through the love of Delilah, a sophisticated beauty with innate elegance, who beguiles him into revealing the secret of his strength... His performance was always up to the standard of Lamarr... Together, they acted with wonderful passion and were as convincing dramatically as long-suffering Hebrews as they were Philistines drunk with victory...
George Sanders, whose dignified presence was a perfect match for the Saran of Gaza, admires Samson for his strength, and envies him for the love of his people... He persuades Delilah to find out what is the source of Samson's strength so they can destroy him...
"Samson and Delilah' is a film of emotion, of love, and action... It is at once a wonderful, and rich historical look at an ancient era, an excuse for beautiful and passionate music, and a thrilling climax hardly rivaled in its size and lavishness... The film is wonderful to look at, and the music is terrific...
Look for Russ Tamblyn playing the little shepherd Saul...
Victor Mature was a mighty, troubled Samson, beset by conflicting emotions, totally dominated by a pagan woman... He teases with her, perhaps showing some smarts here for a change... He falls victim to his enemies through the love of Delilah, a sophisticated beauty with innate elegance, who beguiles him into revealing the secret of his strength... His performance was always up to the standard of Lamarr... Together, they acted with wonderful passion and were as convincing dramatically as long-suffering Hebrews as they were Philistines drunk with victory...
George Sanders, whose dignified presence was a perfect match for the Saran of Gaza, admires Samson for his strength, and envies him for the love of his people... He persuades Delilah to find out what is the source of Samson's strength so they can destroy him...
"Samson and Delilah' is a film of emotion, of love, and action... It is at once a wonderful, and rich historical look at an ancient era, an excuse for beautiful and passionate music, and a thrilling climax hardly rivaled in its size and lavishness... The film is wonderful to look at, and the music is terrific...
Look for Russ Tamblyn playing the little shepherd Saul...
"What invisible power strikes through his arm?"
classicsoncall14 January 2019
Warning: Spoilers
I don't know if Victor Mature would have been my first choice to portray the role of Samson, but from his very first appearance on screen he seems to make it work. I didn't think the actor was as big as he was, he made the tearing down of the Temple of Dagon look credible, or as credible as anyone could to demolish an immense stone structure single handedly. Hedy Lamarr as the seductress Delilah was notably duplicitous and evil in her scheme to get revenge on the man who preferred her sister over herself, but I had to shake my head when I first saw Angela Lansbury cast in the role of Semadar. She actually was a very good looking woman in her early career, but I thought she was miscast in the role here. George Sanders was effective in his portrayal of the Saran of Gaza, but all the while I couldn't help noticing his remarkable resemblance to actor Robert Vaughn, who in 1949 would have still been a teenager, but that's who I thought of every time Sanders was on screen.
From my parochial school religious education, I recalled some of the story of Samson and the film seemed to follow it fairly closely for the most part. I didn't remember the part about blinding Samson while a prisoner of the Philistines, that was pretty major and something I'd completely forgotten. Where the story lost some credibility for this viewer was when Delilah's betrayal led to Samson having his hair cut short; to me it didn't look like too much was taken off the top. So one might infer that Samson's lack of strength was a product of his own mind, a superstition made real by his momentary lack of faith in God. That didn't seem to be implied by the story, but it's something I thought of.
I was intrigued by the names of Mike Mazurki and George Reeves in the opening credits but wasn't able to pick them out as the movie proceeded. Kind of hard to tell with the wildly colorful Philistine garb. Interestingly, the film makers chose a real life wrestler to play the part of Garmiskar; he went by the name of 'Wee Willie' Davis as a pro, having a handful of strongman roles in pictures of the era.
I recently watched a modern day remake of the Samson story starring Taylor James in the title role, a theatrical release that has more of a feel as a made for TV product. There have been other adaptations as well that I haven't seen, but it brings to mind one of the statements made by a Danite lamenting Samson's death at the end of this picture. He said "Men will tell his story for a thousand years". That's something the film makers definitely got right.
From my parochial school religious education, I recalled some of the story of Samson and the film seemed to follow it fairly closely for the most part. I didn't remember the part about blinding Samson while a prisoner of the Philistines, that was pretty major and something I'd completely forgotten. Where the story lost some credibility for this viewer was when Delilah's betrayal led to Samson having his hair cut short; to me it didn't look like too much was taken off the top. So one might infer that Samson's lack of strength was a product of his own mind, a superstition made real by his momentary lack of faith in God. That didn't seem to be implied by the story, but it's something I thought of.
I was intrigued by the names of Mike Mazurki and George Reeves in the opening credits but wasn't able to pick them out as the movie proceeded. Kind of hard to tell with the wildly colorful Philistine garb. Interestingly, the film makers chose a real life wrestler to play the part of Garmiskar; he went by the name of 'Wee Willie' Davis as a pro, having a handful of strongman roles in pictures of the era.
I recently watched a modern day remake of the Samson story starring Taylor James in the title role, a theatrical release that has more of a feel as a made for TV product. There have been other adaptations as well that I haven't seen, but it brings to mind one of the statements made by a Danite lamenting Samson's death at the end of this picture. He said "Men will tell his story for a thousand years". That's something the film makers definitely got right.
Bible-land Epic Voyeurism
john-ruffle15 June 2006
Even after considering that this Cecil B. DeMille Biblical epic was produced in 1949 and is therefore over fifty years old, this film works poorly from a dramatic sense. I've rated it a 4 out of 10: although the film falls short on many vitally important points, much of the fault lies within the conventions of the epic genre, rather than this specific film itself.
In context, this is one of DeMille's early attempts at the full colour sound spectacle picture. Three years later, he could have shot it in CinemaScope, so in some respects, this was a film before its time: widescreen would have added to the sense of spectacle, which is the main thing going for it, apart from a staged and frigid sex-appeal.
DeMille's silent "Ten Commandments", made nearly thirty years earlier, which intertwined both biblical story and modern narrative, holds up far better today than this poorly conceived outing into Bible-land voyeurism.
The script is the birth place of most pictures: here, the script is the film's death. It's overly melodramatic, with totally forgettable lines delivered with the dramatic tension of a Saturday afternoon visit to the local shopping mall. The film has no discernible sub-text; no inner tension. Victor Mature might be a good choice for an amateur passion play, but on film he looks and acts like a human ox. To say that he actually "acts" at all is an exaggeration. He plods through his allotted scenes in an emotionally wooden trance. John Wayne would have made a more convincing Sampson, with his American drawl adding spice. Hedy Lamarr does look good on screen, but there were plenty other Hollywood Female Philistines available, and her performance and screen presence is good, but not earth-shakingly so.
Most of the film is photographed in shadowless high contrast colour: the only relief we get is when the film is shot through gauze defusing screens and curtains, which Lamarr has to put in place herself, even the stagehands having presumably gotten bored of yet another scene of Lamarr's posturing by this time.
Most of all, one has to wonder if the film is somewhat hypocritical. Billed as a biblical epic, most of the film is comprised of full shots of the pair doting on each other with as much lasciviousness as was allowable in the period. DeMille does not want us to forget that he's got a Very Beautiful Woman signed for this picture, and shows her off to best effect whenever he can, in as many scanty costumes as possible, with the hint of nipples showing whenever he can. Yet, as is to be expected from DeMille, we aren't given close-ups; no reaction shots (there's pretty little to react to) and dramatic moments are lost. Example: the hair cutting scene simply does not exist. Instead, DeMille cuts to a five-second sunrise instead, and then, guess what, the Philistine's are upon a shawn Sampson! I can only think that when DeMille shouted, "The cut goes here", editor Anne Bauchens thought it was an instruction to her, not Delilah. As for Sampson, he is portrayed as witless rather than morally weak. There must have been more to this character after all, he was a judge over Israel for twenty years.
The theme of 'power corrupting and absolute power corrupting absolutely' could have made a relevant sub-text, but no, this is box-office entertainment sold on the back of a biblical narrative. This lack of depth - and not the acres of flesh - is what I question most about this film. DeMille has cloaked himself around religion, simply, in my opinion, in order to indulge his voyeuristic fantasies and still be called righteous.
There are lots of lessons to be learnt from this film. For all the tacky and unconvincing set design, (despite an Ocar); loud costumes (despite the other Oscar) and the ham acting, at least technically George Barnes' cinematography is very consistent and carefully controlled; and Bauchens' editing proficiently seamless (despite crossing the action line at least once) but the entire production lacks creative imagination. There is no evidence that the idea of character development ever once crossed Cecil B. DeMille's mind. However, thinking back to 1949, the world was recovering from a savage war, and perhaps western audiences needed to be bathed in colourful escapism for two hours.
Although I've unashamedly panned this film, I still believe it should be watched and studied closely today. It is part of movie-making history, and deserves more analysis than these brief words can hope to achieve. If the film worked for audiences in its time, then we need to find out why and how, and learn from these lessons. On the plus-side, the unobtrusive, Oscar-nominated musical score by Victor Young and the Holy Land location shots by Dewey Wrigley, are both elements of the picture that work flawlessly well. Also, despite its ridiculously abrupt end, the film does improve toward the last act.
DeMille was, above all else, a consummate storyteller, and I'm aware of the need to see this picture on the big screen in a good print for it to be fully appreciated. I could even be persuaded to like it quite a lot more, once I see it as it was meant to be shown. With a supposed "adult" theme, is the picture suitable for children? It is the tamest thing going, but the real question is how any child would be persuaded to sit down to watch without walking out or falling asleep after ten minutes. For the rest of us, however, "Sampson and Delilah" did give the male population of its time a legitimate opportunity to watch a beautiful woman strut her stuff on the big screen in glorious Technicolor without risking the wrath of wives or girlfriends afterwards. On that level, perhaps this is the film's main redeeming feature. After all, who ever got told off for going to church?
In context, this is one of DeMille's early attempts at the full colour sound spectacle picture. Three years later, he could have shot it in CinemaScope, so in some respects, this was a film before its time: widescreen would have added to the sense of spectacle, which is the main thing going for it, apart from a staged and frigid sex-appeal.
DeMille's silent "Ten Commandments", made nearly thirty years earlier, which intertwined both biblical story and modern narrative, holds up far better today than this poorly conceived outing into Bible-land voyeurism.
The script is the birth place of most pictures: here, the script is the film's death. It's overly melodramatic, with totally forgettable lines delivered with the dramatic tension of a Saturday afternoon visit to the local shopping mall. The film has no discernible sub-text; no inner tension. Victor Mature might be a good choice for an amateur passion play, but on film he looks and acts like a human ox. To say that he actually "acts" at all is an exaggeration. He plods through his allotted scenes in an emotionally wooden trance. John Wayne would have made a more convincing Sampson, with his American drawl adding spice. Hedy Lamarr does look good on screen, but there were plenty other Hollywood Female Philistines available, and her performance and screen presence is good, but not earth-shakingly so.
Most of the film is photographed in shadowless high contrast colour: the only relief we get is when the film is shot through gauze defusing screens and curtains, which Lamarr has to put in place herself, even the stagehands having presumably gotten bored of yet another scene of Lamarr's posturing by this time.
Most of all, one has to wonder if the film is somewhat hypocritical. Billed as a biblical epic, most of the film is comprised of full shots of the pair doting on each other with as much lasciviousness as was allowable in the period. DeMille does not want us to forget that he's got a Very Beautiful Woman signed for this picture, and shows her off to best effect whenever he can, in as many scanty costumes as possible, with the hint of nipples showing whenever he can. Yet, as is to be expected from DeMille, we aren't given close-ups; no reaction shots (there's pretty little to react to) and dramatic moments are lost. Example: the hair cutting scene simply does not exist. Instead, DeMille cuts to a five-second sunrise instead, and then, guess what, the Philistine's are upon a shawn Sampson! I can only think that when DeMille shouted, "The cut goes here", editor Anne Bauchens thought it was an instruction to her, not Delilah. As for Sampson, he is portrayed as witless rather than morally weak. There must have been more to this character after all, he was a judge over Israel for twenty years.
The theme of 'power corrupting and absolute power corrupting absolutely' could have made a relevant sub-text, but no, this is box-office entertainment sold on the back of a biblical narrative. This lack of depth - and not the acres of flesh - is what I question most about this film. DeMille has cloaked himself around religion, simply, in my opinion, in order to indulge his voyeuristic fantasies and still be called righteous.
There are lots of lessons to be learnt from this film. For all the tacky and unconvincing set design, (despite an Ocar); loud costumes (despite the other Oscar) and the ham acting, at least technically George Barnes' cinematography is very consistent and carefully controlled; and Bauchens' editing proficiently seamless (despite crossing the action line at least once) but the entire production lacks creative imagination. There is no evidence that the idea of character development ever once crossed Cecil B. DeMille's mind. However, thinking back to 1949, the world was recovering from a savage war, and perhaps western audiences needed to be bathed in colourful escapism for two hours.
Although I've unashamedly panned this film, I still believe it should be watched and studied closely today. It is part of movie-making history, and deserves more analysis than these brief words can hope to achieve. If the film worked for audiences in its time, then we need to find out why and how, and learn from these lessons. On the plus-side, the unobtrusive, Oscar-nominated musical score by Victor Young and the Holy Land location shots by Dewey Wrigley, are both elements of the picture that work flawlessly well. Also, despite its ridiculously abrupt end, the film does improve toward the last act.
DeMille was, above all else, a consummate storyteller, and I'm aware of the need to see this picture on the big screen in a good print for it to be fully appreciated. I could even be persuaded to like it quite a lot more, once I see it as it was meant to be shown. With a supposed "adult" theme, is the picture suitable for children? It is the tamest thing going, but the real question is how any child would be persuaded to sit down to watch without walking out or falling asleep after ten minutes. For the rest of us, however, "Sampson and Delilah" did give the male population of its time a legitimate opportunity to watch a beautiful woman strut her stuff on the big screen in glorious Technicolor without risking the wrath of wives or girlfriends afterwards. On that level, perhaps this is the film's main redeeming feature. After all, who ever got told off for going to church?
My personal favorite Biblical movie.
Fella_shibby4 April 2021
I first saw this as a kid in the early 80s n was blown away by the lion fight sequence n the climax scene of that of Dagon's towering idol.
Saw many times aft that n coincidentally revisited it again on this Easter (04/04/21).
This one is a classic action movie n i still found it very captivating.
The film was very violent for its times. Samson using a jawbone of a donkey to crush skulls like eggs thru helmets is very brutal.
The film's special effects are noteworthy and the most spectacular special effect in the film is the toppling of the temple of Dagon.
Saw many times aft that n coincidentally revisited it again on this Easter (04/04/21).
This one is a classic action movie n i still found it very captivating.
The film was very violent for its times. Samson using a jawbone of a donkey to crush skulls like eggs thru helmets is very brutal.
The film's special effects are noteworthy and the most spectacular special effect in the film is the toppling of the temple of Dagon.
Biblical story when Israelites being enslaved by the Philistines, then Samson seeks justice and vengeance
ma-cortes19 July 2015
Spectacular hokey Bible epic produced and directed by the great Cecil B Mille concerning about Samson (Victor Mature won the role over Burt Lancaster) and Delilah (Hedy Lamarr , among most serious candidates for the role were Jean Simmons , Lana Turner and Rita Hayworth) who plans to seduce him into revealing his secret and then to betray him to the Philistine leader, the Saran (George Sanders) , as she robs Samson his incredible strength . The story of Samson from chapters 13-16 of The Book of Judges , but being based on a novel titled "Judge and Fool, aka Samson the Nazarite, Samson & Prelude to Delilah" . As it is the pattern throughout the book of Judges , the Israelites again turned away from God after 40 years of peace brought by Deborah's victory over Canaan and were allowed to be oppressed by the neighboring Midianites , Amalekites and Philistines . According to the biblical account , Samson was given supernatural strength by God in order to combat his enemies Philistines ,and perform heroic feats such as killing a lion , slaying an entire army with only the jawbone of an ass, and destroying a pagan temple . Samson had two vulnerabilities, however : his attraction to untrustworthy women such as Delilah and his hair, without which he was powerless . These vulnerabilities ultimately proved fatal for him. One day the Philistine leaders assembled in a temple for a religious sacrifice to Dagon, one of their most important deities, for having delivered Samson into their hands. They summon Samson so that people can gather on the roof to watch. Once inside the temple, Samson, his hair having grown long again, asks the servant who is leading him to the temple's central pillars if he may lean against them . He pulled the two pillars together , and down came the temple on the rulers and all the people . Thus he killed many more as he died than while he lived .
¨Samson and Dalilah¨ remains an enjoyable and entertaining picture with great camp performances that still looks fine today . This dumb but fun film contains breathtaking outdoors and indoors , a lot of extras and with glorious paper-Maché sets on the temple of Dagon ; in fact , it was far and away the top-grossing film of 1949 . Victor Mature is surprisingly nice as Samson along with a young Angela Lansbury as Semadar and a cynical Saran of Gaza well incarnated by George Sanders . Victor Mature as Sansone or Samson is acceptable though his famous fight against a philistine army is hopelessly phony . For the scene in which Samson kills the lion , Victor Mature refused to wrestle a tame movie lion . The scene shows a stunt man wrestling the tame lion, intercut with closeups of Mature wrestling a lion skin . Hedy Lamarr supplies biggest surprise by playing a tempter and beautiful vixen Delilah . Being a lavish production here appears several actors usual from Hollywoood pictures such as Cecil B DeMille's long-time associated Henry Wilcoxon , Julia Faye , Fay Holden , Moroni Olsen , Mike Mazurski , George Reeves and a sympathetic boy , Russ Tamblyn , as Saul . Spectacular and climactic sequences in the Temple of Dagon , it took two tries to bring it down . During the first time, some of the dynamite charges in the miniature temple failed to go off on schedule , as the temple had to be rebuilt, and the second attempt was more successful. Colorful and luxurious cinematography by usual Hollywood director of photography George Barnes . Victor Young's lush background music, nominated for an Academy Award in the competition for 1950, would become his penultimate best-score recognition .
The motion picture was realized in Cecil B DeMille's ordinary style ; with a $28 million gross domestically , the film was Paramount's biggest hit since DeMille's silent version of Ten commandments (1923). Cecil produced and directed 70 films and was involved in many more . Many of his films were romantic sexual comedies , as he is supposed to have believed that Americans were curious only about money and sex . His best-known were biblical epics that further established him as the symbol of Hollywood such as King of Kings (1927), The ten Commandments (1923) , The Crusades (1935) and , of course , Charlton Heston's Ten commandments (1956).
Other films about this Biblic figure are the followings : ¨Gedeon and Samson¨ (1965) by Francisco Perez Dolz with Anton Geesink and Rosalba Neri ; Samson and Delilah (1984) by Lee Philips with Anthony Hamilton , Belinda Bauer , Max Von Sidow ; Samson and Delilah (1996) by Nicolas Roeg with Eric Thal , Elizabeth Hurley , Dennis Hooper ; Samson et Dalila (2002) with Plácido Domingo and Olga Borodina .
¨Samson and Dalilah¨ remains an enjoyable and entertaining picture with great camp performances that still looks fine today . This dumb but fun film contains breathtaking outdoors and indoors , a lot of extras and with glorious paper-Maché sets on the temple of Dagon ; in fact , it was far and away the top-grossing film of 1949 . Victor Mature is surprisingly nice as Samson along with a young Angela Lansbury as Semadar and a cynical Saran of Gaza well incarnated by George Sanders . Victor Mature as Sansone or Samson is acceptable though his famous fight against a philistine army is hopelessly phony . For the scene in which Samson kills the lion , Victor Mature refused to wrestle a tame movie lion . The scene shows a stunt man wrestling the tame lion, intercut with closeups of Mature wrestling a lion skin . Hedy Lamarr supplies biggest surprise by playing a tempter and beautiful vixen Delilah . Being a lavish production here appears several actors usual from Hollywoood pictures such as Cecil B DeMille's long-time associated Henry Wilcoxon , Julia Faye , Fay Holden , Moroni Olsen , Mike Mazurski , George Reeves and a sympathetic boy , Russ Tamblyn , as Saul . Spectacular and climactic sequences in the Temple of Dagon , it took two tries to bring it down . During the first time, some of the dynamite charges in the miniature temple failed to go off on schedule , as the temple had to be rebuilt, and the second attempt was more successful. Colorful and luxurious cinematography by usual Hollywood director of photography George Barnes . Victor Young's lush background music, nominated for an Academy Award in the competition for 1950, would become his penultimate best-score recognition .
The motion picture was realized in Cecil B DeMille's ordinary style ; with a $28 million gross domestically , the film was Paramount's biggest hit since DeMille's silent version of Ten commandments (1923). Cecil produced and directed 70 films and was involved in many more . Many of his films were romantic sexual comedies , as he is supposed to have believed that Americans were curious only about money and sex . His best-known were biblical epics that further established him as the symbol of Hollywood such as King of Kings (1927), The ten Commandments (1923) , The Crusades (1935) and , of course , Charlton Heston's Ten commandments (1956).
Other films about this Biblic figure are the followings : ¨Gedeon and Samson¨ (1965) by Francisco Perez Dolz with Anton Geesink and Rosalba Neri ; Samson and Delilah (1984) by Lee Philips with Anthony Hamilton , Belinda Bauer , Max Von Sidow ; Samson and Delilah (1996) by Nicolas Roeg with Eric Thal , Elizabeth Hurley , Dennis Hooper ; Samson et Dalila (2002) with Plácido Domingo and Olga Borodina .
"I'm not an actor — and I've got sixty-four films to prove it!"
JamesHitchcock13 April 2012
Warning: Spoilers
Classical and Biblical epics were popular during the cinema's silent era, but the genre declined in popularity during the thirties and early forties, partly due to technical problems with the early sound systems and partly because the financial climate during the Depression made the studios less willing to take risks. The genre never died out altogether, however, and during the late forties, fifties and early sixties it was to see a triumphant revival as Hollywood rediscovered spectacle as its main weapon in its battle with television. Cecil B. DeMille, probably the director most closely associated with the silent epic, had continued making examples such as "The Sign of the Cross" and "Cleopatra" even during the early days of sound, and was to play an important part in this revival, making two major epics based upon the Old Testament, "Samson and Delilah" and "The Ten Commandments".
The appeal of the story of Samson and Delilah to DeMille is obvious. It is not only an adventure story, with its hero leading his people in a fight against oppression, but also one of the few great Biblical love stories, with a treacherous, seductive heroine. Although traditionalist Jews and Christians regard Samson as a literally real historical individual, the story has the feel of an archetypal myth.
DeMille's film broadly follows the outline of the story given in the Book of Judges, but as this account is a rather brief one, it expands on it, introducing characters not found in the Bible. In this version, Samson is originally the fiancé of one of these characters, Delilah's sister Semadar, and his hatred for the Philistines stems partly from her death. (She is accidentally killed during a brawl at their wedding feast). Other non-Biblical characters are the Philistine ruler, the Saran, and his military commander, Ahtur. For some reason, Samson's people are always referred to as "Danites" rather than Hebrews or Israelites; although the Bible tells us that Samson was of the tribe of Dan, this was only one of twelve tribes which together made up the Israelite people.
When first made in 1949, the film was wildly successful at the box-office, demonstrating that DeMille was right in his view that spectacle was what the American public wanted. Today, however, it looks very dated- in my view more so than "The Ten Commandments", which has stood the test of time far better. Part of the reason is the quality of the acting. The star of the later film is the great Charlton Heston, the actor who more than any other has come to symbolise the epic style, and DeMille could also call upon some fine supporting performances from the likes of Yul Brynner, Edward G Robinson, Cedric Hardwicke and Anne Baxter.
Victor Mature certainly had the right looks for Samson; he was a man for whom the expression "beefcake" could have been invented, and his imposing physique and screen presence helped him win roles in later epics such as "The Robe", "Demetrius and the Gladiators" and "The Egyptian". Few, however, regarded him as being an actor in the same class as Heston- certainly not DeMille, who disliked him both as an actor and as an individual but was forced to take him by the studio, and not even Mature himself, who was famously self-deprecating about his acting skills. ("I'm not an actor — and I've got sixty-four films to prove it!"). DeMille's first choice for the part would have been either Burt Lancaster or Steve Reeves. Reeves was later to become a well-known epic actor, perhaps most famous for playing Hercules, another legendary strongman with many similarities to Samson, but Lancaster was never to star in an epic although his style of acting seemed well-suited to the genre.
As one of the most beautiful actresses of the forties, Hedy Lamarr equally had the right looks for Delilah. She was not only a beauty but also highly intelligent, about as far from the "dumb blonde" (or "dumb brunette") image of the Hollywood starlet as one can get, but intellectuals do not always make the best actors, especially in roles which require strong emotions, as they often try to think themselves into a role as opposed to empathising with their character. (The Princeton-educated Brooke Shields has struck me as another example of this phenomenon). Hedy did not perhaps have the emotional range to play Delilah, who is not a simple villainess but an emotionally complex character who finds herself falling in love with Samson after she has betrayed him.
The one good performance comes from George Sanders as the Saran, played not as a ranting tyrant but as a suave, worldly-wise and cynical ruler. (Sanders often played characters who were sophisticated but villainous, as in "All About Eve" or "Moonfleet", or for that matter the tiger Shere Khan in "The Jungle Book"). It came as a surprise to see Angela Lansbury, best-known for playing characters considerably older than her real age, as the glamorous young Semadar, although even here she is supposed to be Lamarr's older sister whereas in reality Lamarr was older than Lansbury by twelve years.
Visually, the film is certainly spectacular, particularly the final scene in which Samson destroys the temple of the Philistine god Dagon. It is not, however, in the same class as "The Ten Commandments", a film which showed that the epic form could offer more than empty spectacle. "Samson and Delilah", however, may be spectacular, but there is little behind the spectacle. It is the sort of film which shows just why DeMille's detractors- and he had quite a few- frequently dismissed him as a mere vulgar showman. 5/10
The appeal of the story of Samson and Delilah to DeMille is obvious. It is not only an adventure story, with its hero leading his people in a fight against oppression, but also one of the few great Biblical love stories, with a treacherous, seductive heroine. Although traditionalist Jews and Christians regard Samson as a literally real historical individual, the story has the feel of an archetypal myth.
DeMille's film broadly follows the outline of the story given in the Book of Judges, but as this account is a rather brief one, it expands on it, introducing characters not found in the Bible. In this version, Samson is originally the fiancé of one of these characters, Delilah's sister Semadar, and his hatred for the Philistines stems partly from her death. (She is accidentally killed during a brawl at their wedding feast). Other non-Biblical characters are the Philistine ruler, the Saran, and his military commander, Ahtur. For some reason, Samson's people are always referred to as "Danites" rather than Hebrews or Israelites; although the Bible tells us that Samson was of the tribe of Dan, this was only one of twelve tribes which together made up the Israelite people.
When first made in 1949, the film was wildly successful at the box-office, demonstrating that DeMille was right in his view that spectacle was what the American public wanted. Today, however, it looks very dated- in my view more so than "The Ten Commandments", which has stood the test of time far better. Part of the reason is the quality of the acting. The star of the later film is the great Charlton Heston, the actor who more than any other has come to symbolise the epic style, and DeMille could also call upon some fine supporting performances from the likes of Yul Brynner, Edward G Robinson, Cedric Hardwicke and Anne Baxter.
Victor Mature certainly had the right looks for Samson; he was a man for whom the expression "beefcake" could have been invented, and his imposing physique and screen presence helped him win roles in later epics such as "The Robe", "Demetrius and the Gladiators" and "The Egyptian". Few, however, regarded him as being an actor in the same class as Heston- certainly not DeMille, who disliked him both as an actor and as an individual but was forced to take him by the studio, and not even Mature himself, who was famously self-deprecating about his acting skills. ("I'm not an actor — and I've got sixty-four films to prove it!"). DeMille's first choice for the part would have been either Burt Lancaster or Steve Reeves. Reeves was later to become a well-known epic actor, perhaps most famous for playing Hercules, another legendary strongman with many similarities to Samson, but Lancaster was never to star in an epic although his style of acting seemed well-suited to the genre.
As one of the most beautiful actresses of the forties, Hedy Lamarr equally had the right looks for Delilah. She was not only a beauty but also highly intelligent, about as far from the "dumb blonde" (or "dumb brunette") image of the Hollywood starlet as one can get, but intellectuals do not always make the best actors, especially in roles which require strong emotions, as they often try to think themselves into a role as opposed to empathising with their character. (The Princeton-educated Brooke Shields has struck me as another example of this phenomenon). Hedy did not perhaps have the emotional range to play Delilah, who is not a simple villainess but an emotionally complex character who finds herself falling in love with Samson after she has betrayed him.
The one good performance comes from George Sanders as the Saran, played not as a ranting tyrant but as a suave, worldly-wise and cynical ruler. (Sanders often played characters who were sophisticated but villainous, as in "All About Eve" or "Moonfleet", or for that matter the tiger Shere Khan in "The Jungle Book"). It came as a surprise to see Angela Lansbury, best-known for playing characters considerably older than her real age, as the glamorous young Semadar, although even here she is supposed to be Lamarr's older sister whereas in reality Lamarr was older than Lansbury by twelve years.
Visually, the film is certainly spectacular, particularly the final scene in which Samson destroys the temple of the Philistine god Dagon. It is not, however, in the same class as "The Ten Commandments", a film which showed that the epic form could offer more than empty spectacle. "Samson and Delilah", however, may be spectacular, but there is little behind the spectacle. It is the sort of film which shows just why DeMille's detractors- and he had quite a few- frequently dismissed him as a mere vulgar showman. 5/10
Lamarr = Beauty
nunval4 April 2001
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.
Acceptable Biblical Epic by de Mille
ragosaal6 February 2007
In the line of the Cecil B. de Mille's biblical epics, "Samson and Delilah" tells the story of the strong Hebrew judge that fought his people's oppressors. No doubt that de Mille's usual luxurious and expensive touch is in this film and it is clear once more that the man didn't care about expenses whenever he entered a project and so the movie doesn't lack a sense of greatness and spectacle.
The special effects are excellent for 1949, mainly the final sequences when a blind Samson demolishes the pagan temple with the only strength of his arms. There is also a fine musical score by Victor Young.
Though not too gifted when it came to acting Hedy Lamarr was indeed a beautiful woman and she comes out acceptably as the treacherous Delilah. Victor Mature (Samson) -a good choice as for his physical presence- overacts as he usually did, most noticeably in the action sequences in which he doesn't look too comfortable. George Sanders brings an interesting performance as the "Saran" carrying the role of a ruler with dignity and class, and a young Angela Lansbury is good as Delilah's sister Semadar, "Samson and Delilah" turns out as an entertaining and watchable film in its genre though, in my opinion, inferior to the almost contemporary "Quo Vadis" by Mervin Leroy or de Mille's later product "The Ten Commandments" in which he was aided by an all star cast.
The special effects are excellent for 1949, mainly the final sequences when a blind Samson demolishes the pagan temple with the only strength of his arms. There is also a fine musical score by Victor Young.
Though not too gifted when it came to acting Hedy Lamarr was indeed a beautiful woman and she comes out acceptably as the treacherous Delilah. Victor Mature (Samson) -a good choice as for his physical presence- overacts as he usually did, most noticeably in the action sequences in which he doesn't look too comfortable. George Sanders brings an interesting performance as the "Saran" carrying the role of a ruler with dignity and class, and a young Angela Lansbury is good as Delilah's sister Semadar, "Samson and Delilah" turns out as an entertaining and watchable film in its genre though, in my opinion, inferior to the almost contemporary "Quo Vadis" by Mervin Leroy or de Mille's later product "The Ten Commandments" in which he was aided by an all star cast.
What a delightfully bombastic cliché!
jmbelf7 February 2010
Warning: Spoilers
Sitting at home in the aftermath of the East Coast blizzard of 2010, I flicked on TCM just in time to catch Victor Mature wearing Hedy Lamarr like a cheap suit (or was it the other way around?). I was about to pass on it as stereotypical Mature Bible fare when I remembered just how hot Hedy was. Next thing you know they're tearing around the desert in his horsedrawn ragtop.
Fortunately, this was just before the great bareknuckled fight with the lion (even Leonard Maltin concedes it was "great" although "hopelessly phony"), and who can look away from that? Then I was hooked as I realized what terrific fodder this would have been for Mystery Science Theater 3000. Hunting party pulls up just after Samson does in Big Kitty: "Anyone seen our pet lion? Reward for the Prince's lost pet lion . . . HEYYYYYY!" Or that great headwear: "So you're Samson." "Nice hat, Ahtur. How much beer does it hold?"
What made me totally lose it, though, was the riddle bet. First off: Who cares if Hedy or Angela looks older, WHO CAN BELIEVE VICTOR KICKED HEDY TO THE CURB FOR ANGELA??? Movie sorta loses credibility right there. Then he bets 30 wedding guests they can't solve his riddle, the stake being fancy new cloaks. He wins, what's he going to do with 30 coats, open a menswear store? And if they win, how's he gonna pay up? I was wondering about that (in addition to marveling at the unspeakably poor sportsmanship of the Philistine guests -- "If he wins, kill him!") when Angela cheats and gives away the answer to the riddle. After telling her to go sleep in the gutter, a surly Victor stomps out the door, promising the guests their winnings, and that's the absolute best part: HE GOES AND MUGS 30 PASSERSBY FOR THEIR CLOAKS!!!" I laughed till the tears ran down my cheeks! What, did he have them drycleaned, or just hand them over with smelly pits?!
This is a gem. Think it belongs up there with John Wayne in "The Conqueror."
Fortunately, this was just before the great bareknuckled fight with the lion (even Leonard Maltin concedes it was "great" although "hopelessly phony"), and who can look away from that? Then I was hooked as I realized what terrific fodder this would have been for Mystery Science Theater 3000. Hunting party pulls up just after Samson does in Big Kitty: "Anyone seen our pet lion? Reward for the Prince's lost pet lion . . . HEYYYYYY!" Or that great headwear: "So you're Samson." "Nice hat, Ahtur. How much beer does it hold?"
What made me totally lose it, though, was the riddle bet. First off: Who cares if Hedy or Angela looks older, WHO CAN BELIEVE VICTOR KICKED HEDY TO THE CURB FOR ANGELA??? Movie sorta loses credibility right there. Then he bets 30 wedding guests they can't solve his riddle, the stake being fancy new cloaks. He wins, what's he going to do with 30 coats, open a menswear store? And if they win, how's he gonna pay up? I was wondering about that (in addition to marveling at the unspeakably poor sportsmanship of the Philistine guests -- "If he wins, kill him!") when Angela cheats and gives away the answer to the riddle. After telling her to go sleep in the gutter, a surly Victor stomps out the door, promising the guests their winnings, and that's the absolute best part: HE GOES AND MUGS 30 PASSERSBY FOR THEIR CLOAKS!!!" I laughed till the tears ran down my cheeks! What, did he have them drycleaned, or just hand them over with smelly pits?!
This is a gem. Think it belongs up there with John Wayne in "The Conqueror."
This Movie Is About Star POWER!
wndlz17 November 2005
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.
Old fashion Biblical drama
SnoopyStyle3 June 2014
It's 1000BC. Samson (Victor Mature) is a Danite Hebrew in the village of Zorah under the domineering rule of the Philistines. Samson is in love with Semadar (Angela Lansbury) from a wealthy Philistine family. Her younger sister Delilah (Hedy Lamarr) is infatuated with the brute. He kills a lion with his bare hands while with Delilah but Lord Saran (George Sanders) doesn't believe them. He is awarded a hunter's prize after beating Garmiskar in wrestling, but he takes Semadar's hand in marriage instead. Semadar was originally promised to Ahtur (Henry Wilcoxon) and he's not happy. Ahtur brings his 30 warriors to the wedding. Samson has a riddle and makes a bet for 30 cloaks with Ahtur. The jealous Delilah pushes Ahtur, and he frightens Semadar into betraying Samson. Samson robs passing Philistines to pay the debt, but Delilah's scheming isn't finished. She convinces her father to marry Semadar off to Ahtur while trying to get Samson for herself. It all crumbles as Samson battles Ahtur and his 30 men. Samson escapes but Semadar is killed. He burns everything down and Delilah vows vengeance against Samson.
The Technicolor looks brilliant. There is a nice stunt wrestling a real lion early on. Of course, Victor Mature is wrestling a stuffed lion. He is a big guy and he plays Samson as a self assured brute. The acting is not subtle. Hedy Lamarr is playing the vixen for all her worth. Her acting is extremely broad. This is a grand epic from Cecil B. DeMille. It's all very old fashion in everything from tone to style to acting. I doubt that I should count that against it. It is simply an epic of a compelling biblical story.
The Technicolor looks brilliant. There is a nice stunt wrestling a real lion early on. Of course, Victor Mature is wrestling a stuffed lion. He is a big guy and he plays Samson as a self assured brute. The acting is not subtle. Hedy Lamarr is playing the vixen for all her worth. Her acting is extremely broad. This is a grand epic from Cecil B. DeMille. It's all very old fashion in everything from tone to style to acting. I doubt that I should count that against it. It is simply an epic of a compelling biblical story.
One of the better biblical epics....
tambourine3310 November 2005
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.
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.
....and the walls came tumblin' down!
bsmith555210 January 2018
Warning: Spoilers
"Samson and Delilah" is another of Producer/Director's biblical epics with a cast of thousands and impressive set pieces and this time in glorious Technicolor . It tells the story of strong man Samson (Victor Mature) and his betrayal by the seductive Delilah (Hedy Lammar).
Samson is in pursuit of Philistine beauty Semadar (Angela Lansbury). She in turn is the apple of the eye of Ahtur (Henry Wilcoxen) the Philistine governor. Delilah meanwhile has her eye on Samson. Samson wants to impress Semadar by slaying a rogue lion before Ahtur and his men arrive on the scene. With Delilah aiding him, Samson slays the lion with his bare hand. This impresses the Saran of Gaza (George Sanders) who bestows the hand of Semadar to Samson much to the disdain of Ahtur and Delilah.
At the wedding feast, Samson tells a riddle which no one can solve . Ahtur arranges for Semadar to learn the solution of the riddle which angers Samson. He loses the wager with the soldiers and turns away from her in anger. She then marries Ahtur. Samson becomes enraged and a fight erupts during which Semadar is killed causing Samson to flee and go into hiding.
Delilah throws herself at Samson but he has no interest in her. She vows revenge. She becomes the lover of the Saran and plots with him and his council to capture Samson. Samson is captured and while he is being brought to prison escapes his bonds and single handedly decimates Ahtur's army with.........the jaw bone of an ass. He then escapes.
Delilah devises a plan whereby she will lure Samson into a trap during which he will be taken. While robbing what he thinks is a merchant's caravan, Samson discovers that it is the tents of Delilah. At first he is uninterested but later succumbs to her charms. Delilah learns the secret of Samson's strength. She really still loves him and offers to run off to Egypt with him. When Miriam (Olive Dearing) and the young Saul (Russ Tamblyn) beg Samson to return to the hills with them, Delilah becomes enraged and springs the trap she has laid for the now weakened Samson. Ahtur and his soldiers take Samson. Delilah had received assurances from the Saran not to kill Samson but to bring him in unharmed. But the saran has Ahtur put out Samson's eyes leaving him helpless.
Samson is imprisoned but after praying to God regains his strength. Even though the deceitful Delilah offers to help him escape, he goes to the Great Temple and......................................................................................................
It's interesting to note that Angela Lansbury (whose part was all too brief) and who played Hedy Lamarr's older sister was in fact 12 years younger than Hedy. Lamarr was well past her best before date but nevertheless gives the performance of her career here. Victor Mature makes an excellent Samson and was was a better actor than he was give credit for. He would appear as another biblical type character, "Demetrius" in "The Robe" (1953) and "Demetrius and the Gladiators" (1954).
Also in the cast were William Farnum as Delilah's father, and such recognizable faces as Lane Chandler, Francis McDonald, "Wee Willie" Davis, John Miljan, Moroni Olsen, Mike Mazurki, George Reeves, Harry Woods, Ray Teal, John Merton, Tom Tyler and many others.
Samson is in pursuit of Philistine beauty Semadar (Angela Lansbury). She in turn is the apple of the eye of Ahtur (Henry Wilcoxen) the Philistine governor. Delilah meanwhile has her eye on Samson. Samson wants to impress Semadar by slaying a rogue lion before Ahtur and his men arrive on the scene. With Delilah aiding him, Samson slays the lion with his bare hand. This impresses the Saran of Gaza (George Sanders) who bestows the hand of Semadar to Samson much to the disdain of Ahtur and Delilah.
At the wedding feast, Samson tells a riddle which no one can solve . Ahtur arranges for Semadar to learn the solution of the riddle which angers Samson. He loses the wager with the soldiers and turns away from her in anger. She then marries Ahtur. Samson becomes enraged and a fight erupts during which Semadar is killed causing Samson to flee and go into hiding.
Delilah throws herself at Samson but he has no interest in her. She vows revenge. She becomes the lover of the Saran and plots with him and his council to capture Samson. Samson is captured and while he is being brought to prison escapes his bonds and single handedly decimates Ahtur's army with.........the jaw bone of an ass. He then escapes.
Delilah devises a plan whereby she will lure Samson into a trap during which he will be taken. While robbing what he thinks is a merchant's caravan, Samson discovers that it is the tents of Delilah. At first he is uninterested but later succumbs to her charms. Delilah learns the secret of Samson's strength. She really still loves him and offers to run off to Egypt with him. When Miriam (Olive Dearing) and the young Saul (Russ Tamblyn) beg Samson to return to the hills with them, Delilah becomes enraged and springs the trap she has laid for the now weakened Samson. Ahtur and his soldiers take Samson. Delilah had received assurances from the Saran not to kill Samson but to bring him in unharmed. But the saran has Ahtur put out Samson's eyes leaving him helpless.
Samson is imprisoned but after praying to God regains his strength. Even though the deceitful Delilah offers to help him escape, he goes to the Great Temple and......................................................................................................
It's interesting to note that Angela Lansbury (whose part was all too brief) and who played Hedy Lamarr's older sister was in fact 12 years younger than Hedy. Lamarr was well past her best before date but nevertheless gives the performance of her career here. Victor Mature makes an excellent Samson and was was a better actor than he was give credit for. He would appear as another biblical type character, "Demetrius" in "The Robe" (1953) and "Demetrius and the Gladiators" (1954).
Also in the cast were William Farnum as Delilah's father, and such recognizable faces as Lane Chandler, Francis McDonald, "Wee Willie" Davis, John Miljan, Moroni Olsen, Mike Mazurki, George Reeves, Harry Woods, Ray Teal, John Merton, Tom Tyler and many others.
Hedy, Hedy, Hedy!
swillsqueal13 March 2007
Cecil B. DeMille started setting BIBLE stories to film after WWII and this is one of the most intriguing tales from that set of cinematic productions. But, unless you're a kid or with kids or can get yourself into a kid-like mindset (the special effects are great) Hedy Lamarr is the reason to see this film. She was probably the most beautiful Delilah in Hollywood at the time. But, because of the sexist patriarchy which ruled (rules?) Hollywood, her very great intelligence was completely overlooked. Hedy was a math and science genius. She's credited with inventing a torpedo guidance system for the Allies in the early days of WWII, the fundamental scientific merits of which are still being mined today. Do a Google search on her and find out for yourself. In a way like Marilyn Monroe, Hedy was underrated by the philistines who surrounded her, but at least we can still look at her sensual beauty and dream of what could have been.
" For All Your Strength Samson, You're a Fool. You Trusted Delilah "
thinker169110 July 2009
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. ****
An All Time Favorite
mlyttle7723 July 2023
Though there probably will never be a biblical movie that is totally accurate let that not take away the spirit of these motion pictures. This was the first biblical movie I watched where I was truly mesmerized as a nine year old kid. To witness Samson's strength must have been a sight to behold.
Victor Mature was the perfect actor to play Samson. All others that have come after him never captured the essence the way he did. Who could be a more beautiful and alluring Delilah than Hedy Lamar? If the real Delilah looked anything like Hedy Lamar who could blame any man for falling to her seductive blandishments.
I love the poetic dialogue and subtext and the ending was spectacular. For it's day and the limitations as compared to todays CGI movies, it was amazing.
When Samson and Delilah are relaxing by the pool, Samson's description of God is the best of any biblical movie I have ever seen.
I saw this after having watched The Ten Commandments which came about 7 years later. I noticed that DeMille used a few of the actors from this movie.
Victor Mature was the perfect actor to play Samson. All others that have come after him never captured the essence the way he did. Who could be a more beautiful and alluring Delilah than Hedy Lamar? If the real Delilah looked anything like Hedy Lamar who could blame any man for falling to her seductive blandishments.
I love the poetic dialogue and subtext and the ending was spectacular. For it's day and the limitations as compared to todays CGI movies, it was amazing.
When Samson and Delilah are relaxing by the pool, Samson's description of God is the best of any biblical movie I have ever seen.
I saw this after having watched The Ten Commandments which came about 7 years later. I noticed that DeMille used a few of the actors from this movie.
Overblown epic.
jazza9234 April 2010
This is one of those films that is so bad it is entertaining. It is a preposterous movie, poorly acted by most, only Angela Lansbury brings any good acting to the film. Victor Mature's performance is dreadful, and he overacts beyond belief.
It is laughably inaccurate. It is so overdone in every way, the costume design is so blindingly colorful, the art direction is gaudy and extreme. The score is unbearably intrusive.
It is way overlong and director Cecil B. DeMille is to blame for the films absurdness. The Hungarian, Brooklyn and English accents of the cast members certainly do not add any authenticity to the film. It is clear quite a lot of money went into the film, too bad it wasn't used for better results.
It is laughably inaccurate. It is so overdone in every way, the costume design is so blindingly colorful, the art direction is gaudy and extreme. The score is unbearably intrusive.
It is way overlong and director Cecil B. DeMille is to blame for the films absurdness. The Hungarian, Brooklyn and English accents of the cast members certainly do not add any authenticity to the film. It is clear quite a lot of money went into the film, too bad it wasn't used for better results.
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