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Memorable, crazy movie

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

This November, 2016 is Natalie Wood month on Turner Classic Movies, so it's time once again to show one of her earlier screen efforts, 1954's "The Silver Chalice", a film near the top of my "so bad it's fun to watch, classic clunker" list. Natalie plays the younger Helena, a slave in the house of Ignatius (E.G. Marshall). Ignatius has adopted a young poverty-stricken boy who already shows promise as a carver and sculptor. Ignatius names the young boy Basil and makes Basil his heir, much to the dismay of Linus, Ignatius' brother. Linus, much overacted by Herbert Rudley, denounces the adoption, outraged as he is by the thought that this urchin will inherit most of Ignatius's fortune. After Ignatius's death, Linus has the inheritance fraudulently voided and, equally fraudulently, sells Basil into slavery.Well, that young slave sculptor grows into Paul Newman, a little-known stage and TV actor making his screen debut. Natalie Wood's Helena, whom young Basil had helped to escape from slavery, morphs into a curvy Virginia Mayo, now assistant to Simon the Magician, actually played quite well by Jack Palance. Fortunately for Wood, Newman, and Mayo, their other, more memorable screen work has long since eclipsed their efforts here. But one of the worst aspects of the film is that its plot is based on the Costain novel, which alone qualifies the film for "classic clunker" honors.For some unknown reason, Thomas B. Costain's 1952 "The Silver Chalice" novel made the best seller list. Although any copyright protection had long expired, a suit against Costain by Lew Wallace's estate might still have been in order, even if just on general principles. The "Silver Chalice" plot looks for all the world like a "Ben-Hur" makeover. A young man in biblical times, this time a poor boy raised to great wealth, is wrongfully deprived of that wealth and sold into slavery. His struggle to regain his name and fortune helps him to know Jesus --- this time not through slavery and a chariot race, but through slavery and struggling and finally succeeding to carve an image of Jesus's face for a chalice he's making to house the Holy Grail. Hardly original, it would seem.Not only that, though---Thomas B. Costain posited that for 20 years after the last supper and Jesus's death, the Holy Grail had been in the possession of Joseph of Arimathea --- who knew? Anyway, according to all four canonical gospels, Joseph retrieved Jesus's body from Calvary and, according to some tradition, gave up his own tomb so that Jesus's body would have a place of interment. And according to Mr. Costain, Joseph got hold of the grail as well, keeping it hidden for 20 years. Joseph and Luke the Physician, played by Alexander Scourby, determined to house the grail in a suitable chalice, which is where Basil comes in. Basil had acquired quite a reputation as an accomplished silversmith, so Luke sought him out for the chalice job. Basil makes the chalice, but in all the ensuing battles and riots depicted in the film, the chalice and grail are lost again, maybe for all time. Aside from a subplot involving Simon the Magician and Helena---Simon does tricks to amuse the officers at Antioch's Roman garrison, while Helena apparently turns tricks to gratify those selfsame officers. But Simon eventually imagines his magic is greater than Jesus's reported miracles---so much so that he convinces himself that he can fly unassisted. To prove it Simon jumps off a very tall tower and expects to fly away; it doesn't work out too well for him. Other reviewers have chronicled most of film's, ah, interesting aspects: the cardboard sets, the 1950s dance routines performed at Caesar's Palace (no, supposedly the one in ancient Rome!), the hilarious costumes and makeup, and the over-the-top, kitschy-biblical dialogue.The best performance in the dialogue category is awarded to Lorne Greene, who as St. Peter remains on the dock delivering a farewell speech as Basil, his inheritance now recovered, and his new bride Deborra (Pier Angeli) sail away. Lorne is then left standing there, preaching to absolutely no one, but preaching nonetheless about the grail's return. When the grail does return, he says, it will be into " . . a world of evil and long bitter wars (and election campaigns). In such a world as that the little cup will look very lonely. But it may be in that age when man holds lightning in his hands, and rides the sky as Simon the Magician strove to do. It will be needed more then than it is needed now." OK, I added that "election campaigns" part. But yeah, if ever that "little cup" is to reappear, now is as good a time as any. In the meantime, I might watch "The Silver Chalice" again. As with other "classic clunkers," the more times you watch, the more weird stuff you see!

Okay, The Silver Chalice is not that terrible, but considering the talent it was a huge disappointment and saw the worst work and films of almost everybody involved(apart from Jack Palance, he was in the Gor films and that bizarre Treasure Island adaptation).The Silver Chalice does have some good things. William V Skall's cinematography and Franz Waxman's score were nominated for Oscars and the nominations were deserving, the cinematography is beautiful and makes the most of the spectacle while the music positively sweeps, is lushly orchestrated in distinctive Waxman fashion and gives the film heart and pace. Jack Palance is enormously entertaining and maniacal as magician Simon, it's over the top- but you can say that that was in comparison to the rest of the performances- but in a deliciously gleeful way. Pier Angeli gives a heartfelt performance as well and Simon's flying off the sky scraping Tower of Babel is an unforgettable scene and close to being the highlight of the film.Paul Newman on the other hand is very wooden and ill-at-ease in his role, it is his debut(one that is understandably one he'd rather forget) but he was an amazing talent in acting and that did not come through here. Virginia Mayo is alluring but looks completely and utterly lost and Natalie Wood is quite charming but her acting is bland compared to her usual performances. Joseph Wiseman and Lorne Greene are largely wasted(Greene at least though had his concluding narration that was mildly powerful). They are hindered by very sketchily written characters and as dreary and stilted a script as you can get where the one memorable line is Nero's "he didn't fly"(for me it is one of, perhaps THE worst script for a biblical film). Victor Saville's direction never comes to life and the story feels overlong, stodgy and over-stretched with scenes that are either stagy, superfluous or unintentionally funny(some also like the fighting over the gown and with the dancers that would be better belonging somewhere else). The costumes are the opposite of lavish, rather a hodge-podge with some not fitting at all with the setting, with Palance donning the weirdest costumes of his whole career(especially the last one, admittedly he does wear them well). The make-up goes well over-the-top, Mayo is caked in it and it cheapens her looks, it's that ridiculous, and while a few sets are amazing most are bizarrely stylised that it gives the film a cheap look.In conclusion, The Silver Chalice is not a terrible film with the cinematography, score and Palance making it halfway watchable, but as a whole it, like Simon, didn't fly with everybody involved deserving far better than this. 4/10 Bethany Cox

Watching this movie is an interesting experience. It is indeed a real stinker, probably one of the worst big-budget epics made during that decade. It has one of the worst scripts ever utilized for a motion picture, with many laughable lines, terrible miscasting and horrible acting. Newman was right to be embarrassed by this film, but Virginia Mayo and Jack Palance should have been equally embarrassed. And Herbert Rudley tops them all as far as bad acting.Yet.... it is beautifully designed, beautifully photographed, is beautifully composed for CinemaScope (the original stereophonic soundtrack is here as well), and boasts one of the greatest music scores ever written. Plus the fact that it was directed by a major talent whose other films are worth knowing: Victor Saville. That such a talented man could be responsible for this major disaster is indeed very disturbing. Sadly, it virtually ended his career.This is worth a rental to see at least once to satisfy your curiosity. Turn up your speakers so you can bathe in the music at least.

This film is certainly an oddity but deserves some mention for the actors involved, and especially Jack Palance as "Simon the Magician".I too remember watching this around Easter at around age 10, it could be an interesting film for children who don't understand the historical issues of Emperor Nero,the Romans and conflicts of Christianity etc.As another reviewer mentioned, it is odd with unusual sets. Virginia Mayo, however, looks lovely as always, even with some over the top eyebrow makeup and gold eyeshadow.Paul Newman is a slave who must craft a special chalice for Jesus. Mayo, as royalty attempts to rescue him from his chains. Simon the Magician entertains Caesar but loses his mind in the end, building a special tower and wings to prove to Caesar that he can fly. He is just as much a God as any other, he proclaims.The film is theater and a bit campy as you get older but worth watching as a curiosity. 6/10