The robe movie free download

Kidnapping Prostitutes Sexual Awakening. Witches Zombies All Themes. Articles Features Reviews Lists. Watch Online News All Posts. Advanced Search. The book takes place in the 17th century in New France and is about the things that happened between Europeans and First Nations people after the first contact. Thus why the book and the movie is called Black Robe. Pretty good I must say. Set in , this film follows Father LaForgue Lothaire Bluteau , a French Jesuit priest sent to search for a Canadian mission in the middle of nowhere surrounded by Huron settlements.

See all related lists ». Share this page:. Clear your history. Marcellus Gallio. Pontius Pilate. Emperor Tiberius. Judas uncredited. Slave Dealer uncredited. Cleander uncredited. Citizen uncredited. Minor Role uncredited.

Rebecca uncredited. Soldier uncredited. Sword-Fighting Soldier uncredited. Slave Girl uncredited. Girl uncredited. Cornelia uncredited.

Shalum uncredited. Chamberlain uncredited. Ship's Mate uncredited. Sarpedo uncredited. Black Man uncredited. Bystander at trial uncredited. Ship's Captain uncredited. Caleb - Wine Merchant uncredited. Marius - Physician uncredited. Julia uncredited. Slave uncredited. Jesus Christ uncredited.

Jonathan uncredited. Specialty Dancer uncredited. Marcipor uncredited. Nathan uncredited. Jerusalem Woman Aiding Demetrius uncredited.

Jesus Christ voice uncredited. Nobleman in Market uncredited. Peddler uncredited. Tiro uncredited. Reuben uncredited. Dodinius uncredited. Roman Officer uncredited. The camera is mostly static, and shots have longer than average duration; the compositions really are not designed for a lot of movement.

This gives the film that famous "epic" style that goes for the grand sweep, both visually, musically and emotionally. There is not a lot of internalisation within the characterisation - it is the literal width and scope of the production that grabs attention. The filmic style is not very personal, however.

It really is as if we have the best seats in an outdoor drama on a massive stage. As you view, you may wish to make a note of the shots that seem to work best to the modern viewer. In the early part of the film, for instance, just before the "Passion" sequence , Demetrius runs toward the camera in search of Jesus, after he's been beaten down by the Roman guards outside the gates of Jerusalem. An old lady sitting behind him on the cobbled pathway, has just finished tending his wounds.

The shot is terrific, and works for modern audiences very well. Unlike a lot of the film, where much of the direction seems to be subjected to the demands of the CinemaScope process, this shot contains a dynamism that beguiles the film's age. Because it uses the three dimensions of the set, along with arresting and dramatic movement, as Demetrius runs diagonally toward the camera and beyond us, toward the Crucifixion, which we see in the next sequence.

Another sequence that really works well is the chase in the second half. It is arguably the most dramatic sequence in the entire picture, and certainly uses CinemaScope to best effect, as the horses thunder toward the audience.

Over fifty years later, and it would be hard to better. By contrast, most of the film is played out in tableaux form, with action taking place across the width of the screen on lavish but shallow sets. The camera is a passive observer, unlike modern 'epics', which usually use very fluid camera set-ups along with computer-generated imagery CGI. The actual crucifixion masterful in what it does not show, by the way is indeed an actual still life tableau, and could have easily been lifted straight out of the Oberammergau passion play.

I do not say this to put the film down - this actually is a brilliant move, as it makes the action faithful to the genre of the passion play, which originally was played out exclusively through short tableaux. In this writing, my aim has been simply to help you consider alternative ways of viewing this, and other, historic motion pictures.

Particularly, you may wish to take note of the sometimes unusual way the film uses: a framing, b shot length, c staging, d camera movements, e the use or rather, the almost total lack of use of close ups and 'cut-away' shots, f lighting, and the g music score and dialogue.

Of course, there is much more to note: the use of dissolves and fades, which helps underline the 'epic' grandeur of every sequence. And I've not even touched on the story line or the acting. Question: how might it have played as a silent movie? In today's post-modernist society, the Passion play formula, with its emphasis on objective truth, may well gain renewed importance, since the narrative of Christ's passion may be in danger of becoming yet one more voice crying in a commercial wilderness devoid of ultimate human and Godly values of truth, goodness and conviction.

The story of Jesus stands out as unique however it is viewed. The simple reason: the story of the Passion indeed IS unique! Which is one reason why I consider it a 'genre' in its own right.

I contend, therefore, that "The Robe" is an important contribution to American cinema, both theologically and cinematographically; one among a select number of motion pictures, spanning over one hundred years of history, that every student should have opportunity to view and discuss at least once whilst still in full time education.

A sidebar: "The Robe" really needs to be watched in 'letterbox' i. With HDTV coming along, look out for a digital re-release that will restore the original to its pristine glory. Also, a side-by-side comparison with the Academy format version - shot at the same time - would be beneficial.