During 63 a.d. a Roman official prefect named Marco Vinicio (Robert Taylor) returns from Gaul wars and goes home Petronius (Leo Genn and enamored the gorgeous slave played by Marina Berti ), adviser of emperor Nero (Peter Ustinov) . Vinicio confess him he has fallen in love from Ligia (Deborah Kerr) , a virginal and mysterious young whom has known in the Plautus's home (Felix Aylmer and wife Nora Swinburne) . Meantime , the Christians are accused by Nero (Peter Ustinov) , along with Poppea (Patricia Laffan) and Tijelinus (Ralph Truman) of burning the ancient Rome . Depraved emperor Nero wants to get rid the Christians followed by Apostle Peter (Finlay Currie) and Paul (Abraham Sofaer) and then orders burn on stakes and use them as meat for hungry lions . Vinicio helped by Ursus (Buddy Baer) risk their lives to save her .

This huge epic film gets lots of crowd scenarios, fabulous gowns, dramatic scenes and is realized on a giant scale , spectacular sequences and Christians' bloody martyrdom as lions attack in arena and cruel crucifixions . Originally cast in 1949 with Elizabeth Taylor as Lygia and Gregory Peck as Marcus Vinicius . But as the production changed hands the following year , the roles were recast with enjoyable Deborah Kerr and robust Robert Taylor . Among the many actresses who tried out for a role in the film : a pre-stardom Audrey Hepburn. Peter Ustinov's overwhelming hammy acting , he gives an immortal and unforgettable performance . Film debut of Bud Spencer , who plays one of the Emperor's guards and as extra appears Sofia Loren and her mother . The film was an epic colossal with big financial success , 32,000 costumes were used in the film ; besides , spectacularly and colorfully photographed by Robert Surtees and magnificent musical score by Myklos Rozsa . The movie was very well directed by Mervyn Leroy . The motion picture is the ultimate version of the classic novel by the Polish Henryk Sienkiewicz . Remade for television by Franco Rossi (1985) and inferior version (2001) by the Polish Jerzy Kawalerowicz .

As many times as I've heard the saying 'Nero fiddled while Rome burned', I never gave thought to the idea that Nero instigated the fiery inferno himself as a sort of artistic cleansing in order to remake the great city in his own image. If that's really the case, then the historical Nero was as loony as Peter Ustinov's over the top portrayal of the hapless Roman Emperor made him out to be. That scene with the 'weeping glass' was so outlandish that I had to rewind it to watch it again. Truly marvelous over-emoting by the incomparable Ustinov.

If it's grand spectacle you're after, "Quo Vadis" is up there on the scale of "Ben-Hur", "King of Kings" and other historical epics of the era. At a time well preceding the wizardry of computer generated images on screen, one can appreciate the planning and effort it took to translate this 'cast of thousands' to the big screen. The scenes of Roman legions marching back home and the spectacle of the arena presided over by the god-like Nero and his court are full of color and pageantry.

At the center of this film is the story of the rise of Christianity and the romance between a Roman general (Robert Taylor) and an adopted Christian girl (Deborah Kerr). Not so much a romance actually, as a gradual conversion of faith and conscience for a man who's entire career was in service to Emperor and country.

The real story however is in the machinations and brutality of the Emperor Nero. With casual indifference and haughty self importance, Nero is so self absorbed that he becomes a caricature of himself. I can think of few actors who could have pulled off this feat besides Ustinov; Charles Laughton and Robert Newton come to mind, but Ustinov gives his character such a vile edge here that it makes him just perfect for the part. Pairing him with Paticia Laffan as wife Poppaea is the icing on the cake.

The title of the film can be literally translated as 'Whither goest thou?', or perhaps more literally as 'Where are you going?'. That would be a question for someone like Marcus Vinius, on the fence between a lifetime of service to a self-proclaimed divine emperor and the promise of spiritual freedom offered by the emerging doctrine of Christianity. Interestingly, and to varying degrees, that struggle of faith remains alive to this very day.

Quo Vadis is a good movie, but I personally don't consider it a truly great one. I did find some of the religious aspects over-bearing, some of the script rather stilted(Petronious' philosophical lines excepted) and a little rambling and bloated in the story and pace. Problems aside, Quo Vadis is a film of visual spectacle and grandeur. You can never go wrong with sweeping cinematography, lavish scope, sets and scenery and colourful costumes and Quo Vadis succeeds in all these areas. Mervyn LeRoy directs excellently, while Miklos Rosza's score is absolutely magnificent. The performances are solid, Robert Taylor does a good job playing it straight and isn't too dull and Deborah Kerr is as ravishing as ever, but it is Leo Genn playing Petronious more than admirably and especially a superb Peter Ustinov as Nero that walk away with the picture. All in all, a solid film albeit not one without its flaws. 7/10 Bethany Cox