The Silver Chalice (film)

The Silver Chalice
Film poster
Directed by	Victor Saville
Screenplay by	Lesser Samuels
Based on	The Silver Chalice 1952 novel by Thomas B. Costain
Produced by	Victor Saville
Starring	Virginia Mayo Pier Angeli Jack Palance Paul Newman
Cinematography	William V. Skall
Edited by	George White
Music by	Franz Waxman
Production company	Victor Saville Productions
Distributed by	Warner Bros.
Release date	December 20, 1954 (1954-12-20)
Running time	135 minutes
Country	United States
Language	English
Budget	$4.5 million (US)[1]
Box office	$3.2 million (US)[2]

The Silver Chalice is a 1954 American historical epic drama film directed and produced by Victor Saville, based on Thomas B. Costain's 1952 novel of the same name. It was one of Saville's last films and marked the feature film debut of Paul Newman; despite being nominated for a Golden Globe Award for his performance, Newman later called it "the worst motion picture produced during the 1950s."

The film featured unusual semi-abstract settings and decor, created by the stage designer Rolfe Gerard in a striking departure from the normal practice of the day for Hollywood biblical epics. A notable musical score by Franz Waxman was nominated for the Best Original Score at the 27th Academy Awards.

Plot[edit]

A Greek artisan from Antioch is commissioned to cast the cup of Christ in silver and sculpt around its rim the faces of the disciples and Jesus himself. He travels to Jerusalem and eventually to Rome to complete the task. Meanwhile, a nefarious interloper is trying to convince the crowds that he is the new Messiah by using nothing more than cheap parlor tricks.

Cast[edit]

Release[edit]

The film had its world premiere in the small town of Saranac Lake, New York, which won a competition selling Christmas Seals. Saville, Mayo, Angeli and Palance attended and participated in a parade around the time of the town's annual winter carnival. The premiere was hosted by television personality Art Linkletter.

Reception[edit]

A. H. Weiler of The New York Times wrote that the filmmakers "have come up with a spectacle-filled adventure easily fitted to the lush hues of WarnerColor and the king-sized screen of Cinemascope. But in providing a modicum of excitement and generous portions of extravaganza they have turned out a cumbersome and sometimes creaking vehicle that takes too long to reach its goal."^[3]

Variety wrote, "Like the Costain book, the picture is overdrawn and sometimes tedious, but producer-director Victor Saville still manages to instill interest in what's going on, and even hits a feeling of excitement occasionally."^[4] John L. Scott of the Los Angeles Times wrote that "it is colorful at times, rather tedious in other portions".^[5] Richard L. Coe of The Washington Post wrote, "Lesser Samuels' screen play meanders self-consciously and Victor Saville's direction is just as overblown. I found nothing remarkable in the performances of the leads, Paul Newman (not as good as he's been on TV), Pier Angeli, Virginia Mayo (more synthetically blondined than ever), Jack Palance (an overtheatric villain), or even Walter Hampden (the ancient Joseph)."^[6] Harrison's Reports thought the film "deserves a high rating from the production point of view", but was "only moderately interesting" as entertainment.^[7] John McCarten of The New Yorker wrote that the film "has to do with the pursuit of the Grail by the most dismal assortment of characters I've encountered in a decade".^[8] The Monthly Film Bulletin wrote, "Any true religious atmosphere in this vulgar and incongruous fancy-dress parade is out of the question...Some may discover uproarious moments, many will be repelled by the tastelessness of the spectacle as a whole."^[9]

Writing in the first edition of his Film Guide in 1977, Leslie Halliwell described the film as "[p]o-faced biblical hokum...with howlingly bad casting and direction...[a] sea of boredom", assigning it 0 stars out of 4.^[10]

The elaborate musical score by Franz Waxman has been widely recognized. Elmer Bernstein recorded part of the suite in the 1970s.^[11]

Legacy[edit]

Martin Scorsese wrote about the film as a guilty pleasure in 1978:

The Silver Chalice is one of the reasons I hired Boris Leven to design New York, New York. Giant and The Silver Chalice: any man who could design those two films...that's it, I had to have him. The Silver Chalice, which is a bad picture, has no authenticity. It's purely theatrical, and this is mainly due to the sets. They're clean and clear; it's almost like another life, another world. We don't know what ancient Rome was like, so why not take the attitude Fellini had with Satyricon: make it science fiction in reverse? The Silver Chalice came close to that, fifteen years earlier.^[12]

Paul Newman was apparently not proud of his performance. When the film was broadcast on television in 1966, he took out an advertisement in a Hollywood trade paper apologizing for his performance and requesting people not to watch the film. This backfired and the broadcast received unusually high ratings.^[13] The film is sometimes referred to as Paul Newman and the Holy Grail.^[14] Newman called the film "the worst motion picture produced during the 1950s", and once screened it for guests at his home, handing out pots, wooden spoons and whistles, encouraging the audience to offer noisy critiques.

Home media[edit]

The film was released on DVD in 2009.

References[edit]

External links[edit]

Wikiquote has quotations related to The Silver Chalice (film).

• The Silver Chalice at the American Film Institute Catalog
• The Silver Chalice at IMDb
• The Silver Chalice at AllMovie
• The Silver Chalice at the TCM Movie Database
• The Silver Chalice at Rotten Tomatoes